1. Back to the Basics Elements of Art Principles of Design
Art Appreciation
Back to the Basics
Elements of Art
Principles of Design
January 2014

2. Elements of Art The Building Blocks
Line
Shape
Color
Value
Form
Texture
Space

4. Space Actual space is the three-dimensional volume that can be empty or filled with object. It has width, height and depth. In art, space is an illusion that creates the feeling of actual depth. The positive space is an object. The negative space is the empty space around an object.

5. Let’s explore these techniques…
Space The feeling of space in a drawing or painting is always an illusion. Artists combine the use of light and dark value with other techniques such as sizing, overlapping, ladder perspective, linear perspective and atmospheric perspective to give the viewer the feeling of depth on a flat surface.
Let’s explore these techniques…

6. Space The feeling of space in a drawing or painting is always an illusion. Artists combine the use of light and dark value with other techniques such as sizing, overlapping, ladder perspective, linear perspective and atmospheric perspective to give the viewer the feeling of depth on a flat surface.
In sizing, objects that are smaller will appear further away form the viewer. See the three sizes of triangles above. In simple overlapping, a figure will partially hide an object that is supposed to be behind it. Our eyes are easily fooled and we decide that one is closer and the other is further away. Look at the triangles above. The effect of depth is reinforced because the triangles “behind” are smaller than the one “in front”.

7. Space The feeling of space in a drawing or painting is always an illusion. Artists combine the use of light and dark value with other techniques such as sizing, overlapping, ladder perspective, linear perspective and atmospheric perspective to give the viewer the feeling of depth on a flat surface.
In ladder perspective, figures at the top of the picture seem to be further away and are often smaller in scale than things in the middle which seems to be further way and often smaller in scale that things toward the bottom of the picture. (Visualize a ladder – those things at the “top” of the ladder are farther away. As you go down the ladder, or down the picture surface, objects become nearer.). See the road in the picture above.

8. Space The feeling of space in a drawing or painting is always an illusion. Artists combine the use of light and dark value with other techniques such as sizing, overlapping, ladder perspective, linear perspective and atmospheric perspective to give the viewer the feeling of depth on a flat surface.
Linear Perspective is a geometric method of using receding lines that move toward a vanishing point. Above, you can see how the edges of the blue box are drawn to appear to create a realistic three-dimensional object. See also how the road, as it goes into the distance becomes narrower.

9. Space The feeling of space in a drawing or painting is always an illusion. Artists combine the use of light and dark value with other techniques such as sizing, overlapping, ladder perspective, linear perspective and atmospheric perspective to give the viewer the feeling of depth on a flat surface.
Atmospheric Perspective is a technique where objects in the distance seem bluish-gray, dimmer and blurred. Once again, look at the red triangles. The triangles become a dimmer red as they “recede” into the distance. Objects that are further away have less detail than those closer to the viewer.

10. Space The feeling of space in a drawing or painting is always an illusion. Artists combine the use of light and dark value with other techniques such as sizing, overlapping, ladder perspective, linear perspective and atmospheric perspective to give the viewer the feeling of depth on a flat surface.
Now let’s look at some pictures and look for the techniques used to create space…

11. Space Love of Winter, 1914 George Bellows
Which techniques of creating space do you see?
Do you see sizing?
Do you see overlapping?
Ladder Perspective?
Linear Perspective?
Atmospheric Perspective?
Love of Winter, 1914
George Bellows

12. Space
Among the Sierra Nevada Mountains
Albert Bierstadt

13. Space Children on the Beach Mary Cassatt Ring Toss
William Merritt Chase

14. Space The Importance of Knowing Perspective, 1753 William Hogarth
This is a “satire” on false perspective. This is what can happen to your design without the knowledge of perspective…. How many wrong things can you find?

15. Principles of Design How the Build Blocks are used
Balance
Contrast or Proportion
Emphasis
Rhythm or Movement
Pattern
Unity
Variety

16. Balance Balance is the impression of visual equilibrium in artwork
Balance Balance is the impression of visual equilibrium in artwork. It is the visual distribution of weight of objects in artwork. There are three forms or types of balance in art: symmetrical (formal), asymmetrical (informal or casual) and radial.

17. Balance Balance is the impression of visual equilibrium in artwork
Balance Balance is the impression of visual equilibrium in artwork. It is the visual distribution of weight of objects in artwork. There are three forms or types of balance in art: symmetrical (formal), asymmetrical (informal or casual) and radial.
Asymmetrical can still have visual balance by using varying size, varying color and placement, but not evenly across a mid line or line of symmetry.

18. Balance Balance is the impression of visual equilibrium in artwork
Balance Balance is the impression of visual equilibrium in artwork. It is the visual distribution of weight of objects in artwork. There are three forms or types of balance in art: symmetrical (formal), asymmetrical (informal or casual) and radial.
Radial balance is symmetrical balance with more than one mid-line or line of symmetry
Let’s look at Balance in Artwork…

19. Balance
This cross is symmetrically (formally) balanced - one half mirrors the other. Religious and significant objects are often given a symmetrical balance. Notice the balance in da Vinci’s paintings The Last Supper and Mona Lisa.

20. Balance
This cross is symmetrically (formally) balanced - one half mirrors the other. Religious and significant objects are often given a symmetrical balance. Notice the balance in da Vinci’s paintings The Last Supper and Mona Lisa.

21. Balance
Our eyes are drawn by color. Small areas of vibrant color can be used to balance larger areas of more neutral colors. The vivid red skirt on the left is balanced by the larger neutral pink dress. Even as the two women are of different sizes, the difference in the color of their dresses keeps this painting visually balanced.
Gauguin, Paul. 
Two Women on a Beach. 1891.
Oil on canvas, 27 x 35½ . Louvre, Paris

22. Balance
Large flat areas without much detail can be balanced by smaller irregularly shaped objects since the eye is led towards the more intricate shape. The front dancer in this painting by Degas stands out in intricate detail compared to the large blurry area behind her.
Dancer on Stage, 1878
Edgar Degas
Pastel on paper, 23 5/8 x 17 3/8 in
Musee d'Orsay, Paris
On a balance beam, a larger weight closer to the center point can be balanced by a lighter weight further away from the center. This is balance by position. Sometimes larger elements on one side of the page can be balanced by a single smaller element positioned at the far end of the other side of the page. This is a very tricky type of asymmetrical balance that often ends up looking out of balance.
Dancers Practicing at the Barre, 1877
Edgar Degas
Oil on canvas
Metropolitan Museum of Art, New York

23. Your eye can be led to a certain point in a picture depending on how the elements are arranged. If the people in a picture are looking in a certain direction, your eye will be led there as well. Elements in a picture, such as triangles or arrows, will also lead your eye to look to a certain point and maintain the balance of a picture. Look how the eye direction of the conductor and the audience leads your eye to the dancers and the eye direction of the dancers and musicians in this painting by Seurat lead your eye to the small gaslights which provide a focal point in this painting.
The Can-can,  ; Georges Seurat
Oil on Canvas, 66 1/8 x 55 ½ in; Kroller-Muller Museum, Otterlo