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Visual Elements

The Vocabulary of ArtElizabeth Murray, The Sun and the Moon, 2005. Oil on canvas on

wood.

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Line: path of moving pointActual & 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

Chapter Four, Part A

The Visual Elements

Light:digital & electronicActual & ImpliedValue: relative light & dark

Chiaroscuro (light & dark)Color: HueAnalogous (warm & cool)PrimarySecondary

ComplementaryPointillism: optical mixing

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Line implies direction and movement

Keith Haring, Untitled, 1982. vinyl

paint on vinyl tarpaulin.Sarah Sze, Hidden Relief, 2001.

Mixed media.

Line: Contour and Outline

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Picasso. Three Male Heads (from Ovids Metamorphoses)1931.

etching on copper.

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Jasper Johns. Sketch for Two Cups. 1972. Watercolor on paper.

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DirectionVertical linesseem assertive, or

denote growth &strength.Horizontal linesappear calm.Diagonal lines arethe most dramaticand imply action.

Eakins, The Biglin Brothers Racing, 1873-74. Oil on canvas.

Line: Direction and Movement

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Eye

movement

and implied

emotion

Gricault, The Raft of the Medusa, 1818-19. Oil on canvas.

Implied Line

Direction & Eye Movement

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Emmi Whitehorse, Chanter,

1991. oil on paper mountedon canvas.

Bill Reid, The Raven and

the First Men, completed1983. yellow cedar.

Figure (positive shape)Ground (negative shape)Shape:An enclosed line;

a two-

dimensional area

with identifiableboundariesi.e.: circles or

squaresMass/Form:A three-dimensional area

with identifiable

boundariesi.e.: spheres and

cubes

Shape and Mass

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Figure-ground

reversal: The concept of

positive and negative

space.

In representational work,

it is the shape of the object. In

nonrepresentational

work, it is the shape thatappears dominant or

active.

Aztec, circular shield,before 1521. feathers.

Shape and Mass

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Shading and Modeling:

Create massHatching:Closely spaced parallel linesCross-hatching:Parallel lines intersect like a

checkerboardStippling: Dots spaced close or far

apart to suggest darker or

lighter areas

Line

Implied Shape & Mass

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Implied ShapeRaphael, The Madonna of the Meadows, 1505. oil on panel.

Implied Shape

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Light:Actual light Importance for three-

dimensional

work

James Turrell, Live Oak Friends

Meeting House, 2001. Houston, TX.

Light Value and Color

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Value: Relative lightness or darkness

Chiaroscuro: Means light/dark (contrasts of light and shadow)Leonardo da Vinci, The Virgin and

Saint Anne with Christ Child and John

the Baptist. Charcoal & chalk/paper. Charles White, Untitled,1979. etching.

Implied Light

Value Modeling in Two Dimensions

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Color wheel:Made up ofthe colors

refracted by

Sir Isaac

Newtons

prism

Color Wheel.

LightValue and Color

Color Theory

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Color; hue:Name of the colorValue:Relative lightness

or darknessIntensity:Relative purity ofa color

Pissarro, Palette with a Landscape, c. 1878. oil on palette.And/or: Color value and intensity.

Light Value and Color

Color Properties

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Color value and intensity. And/or Light & pigment

primaries.

Light Value and Color

Light and Pigment

Color; hue:Name of the colorValue:Relative lightness or

darknessIntensity:Relative purity ofa color

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Complementary:Directly opposite on the color wheel

Color conveys emotions.

Monochromatic:Variations of the same hue

Whistler, Nocturne in Blue and

Gold, c. 1872-75. oil on canvas.Inka Essenhigh,In Bed, 2005. o/c.

LightValue and Color

Color Harmonies

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Diana Cooper, The Site, 2006.

mixed media.Piet Mondrian, Trafalgar Square,

1939-43. oil on canvas.

LightValue and Color

Color HarmoniesColor conveys emotions.

Analogous:Adjacent hues on the color wheel

Triadic:Three equidistant colors on the color

wheel

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Paul Gauguin. Tahitian Idyll. 1892. Oil on canvas.

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Paul Gauguin. Self-portrait with Palette. 1893-94. Oil on canvas.

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Complementary color afterimage.

LightValue and Color

Optical EffectsAfterimage: Simultaneous contrast

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Pointillism: Dots of pure color that tend to mix in our

eyes to produce the illusion of color mixturesSeurat, A Sunday on La

Grande Jatte, 1884-86. oil oncanvas Detail of slide R

LightValue and Color

Optical Effects

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Chapter Four, Part A

The Visual Elements

Line: path of moving pointActual & 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

Light:digital & electronicActual & ImpliedValue: relative light & dark

Chiaroscuro (light & dark)Color: HueAnalogous (warm & cool)PrimarySecondary

ComplementaryPointillism: optical mixing