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1 Elements and Principles Presentation

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20 views16 pages

1 Elements and Principles Presentation

Uploaded by

mckaylamcgee13
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Elements of Art

The building blocks of a work of art


Line
•Line - A continuous mark made on
a surface by a moving point; it may
be flat (pencil line) or three-
dimensional (a rod, groove, ridge,
etc.) Line may be explicit - a line
painted along the edge of the road -
or implied by the edge of a shape
or form. Lines are used to outline
(contour lines), create shading and
show form (structural lines,
hatching and cross-hatching),
decorate, express emotion, and
direct the viewer's eye.
texture
•Texture is the surface
quality that can be seen
and felt. Textures can be
rough or smooth, soft or
hard. Textures do not
always feel the way they
look; for example, a
drawing of a porcupine
may look prickly, but if you
touch the drawing, the
paper is still smooth.
COLOR
•Color The visible spectrum
of radiation reflected from
an object. Properties of
color are hue and
brightness.
Value

•Value is a basic element of art that refers to


the gradual change of lightness or darkness
of a color. It is created when a light
source shines upon an object creating
highlights, form shadows and cast shadows.
Value is most evident on the gray scale
where black is represented as lowest or
darkest and white is represented as the
highest or lightest value. Or more simply
said, they are the various shades of grey
between white and black. Artists us them to
create highlights and shadows (shading) in
objects and create depth in their paintings
or drawings.
Colors can have value too. In painting, value
changes can be achieved by adding either
black or white to the chosen color. Some
colors, like yellow and orange, are naturally
light in value.
Shape
•Shape An enclosed space
defined by a line or by contrast
to its surroundings. Shapes are
two-dimensional (flat): circle,
square, triangle, organic blob,
etc.
FORM
•Forms A three-
dimensional object: a
defined volume of space.
Forms could also be
categorized as geometric or
organic in nature.
Space
•Space is the area between and
around objects. The space
around objects is often called
negative space; negative space
has shape. Space can also refer
to the feeling of depth. Real
space is three-dimensional; in
visual art, when we create the
feeling or illusion of depth, we
call it space.
Principl
es of Ways that artists
organize the elements
of art in a work of art.

Design
Balance
•Balance is the distribution of the
visual weight of objects, colors,
texture, and space. If the design
was a scale, these elements should
be balanced to make a design feel
stable. In symmetrical balance, the
elements used on one side of the
design are similar to those on the
other side; in asymmetrical
balance, the sides are different but
still look balanced. In radial
balance, the elements are arranged
around a central point and may be
similar.
Pattern
Pattern - groups of elements
or motifs that repeat in a
predictable manner.
Contrast
•The difference in quality between two instances of
an art element or using opposing qualities next to
each other. For example, black and white
(contrasting values), organic/curvy and
geometric/angular (contrasting lines/shapes/forms),
and rough and smooth (contrasting textures).
•The greater the contrast, the more something will
stand out and call attention to itself. This applies to
whole works of art as well as areas within an
artwork. Areas with greater contrast in value
(stronger darks and lights) will tend to appear more
forward in space, as over distance atmospheric haze
lessens contrast (atmospheric perspective). Contrast
can also be used to set the mood or tone of the
work. High contrast makes a work more vibrant,
vigorous, brash, lively - it "pops" more. Low-contrast
work is quieter, calm, subtle, reflective, soothing.
Emphasis

•Emphasis is created by visually


reinforcing something we want
the viewer to pay attention to.
Focal points are areas of interest
the viewer's eyes skip to. The
strongest focal point with the
greatest visual weight is the
dominant element of the work.
Isolation, leading lines and
convergence, contrast, anomaly,
size, placement, framing, focus
and depth of field, and absence
of focal points are some of the
strategies used to help create
these degrees of importance.
Movement

•Using art elements to direct a viewer's


eye along a path through the artwork,
and/or to show movement, action and
direction. Also, giving some elements
the ability to be moved or move on
their own, via internal or external
power.
•In a still picture such as a painting or
photograph, where nothing is actually
moving, various strategies can be used
to give the viewer a sense of
movement and speed, or to move the
viewer's eye through the work. These
include lines, diagonals and
unbalanced elements; blurring;
placement; direction; and motion lines
and afterimages.
Rhythm &
Repetition
•Repetition Repeated use of a shape, color, or other art
element or design in a work can help unify different parts
into a whole. The repetition might be limited to only an
instance or two: not enough to create a pattern or
rhythm, but enough to cause a visual echo and reinforce
or accent certain aspects of the work.

•Rhythm When motifs or elements are repeated,


alternated, or otherwise arranged, the intervals between
them or how they overlap can create rhythm and a sense
of movement. In visual rhythm, design motifs become the
beats. Rhythms can be broadly categorized as random,
regular, alternating, flowing, and progressive.
Harmony/Unity
•Harmonious elements have a logical
relationship or progression - in some way
they work together and complement each
other. When a jarring element is added -
something that goes against the whole - it is
said to be dissonant, just like an off-note in a
musical performance. Unity is created by
using harmonious similarity and repetition,
continuance, proximity and alignment, and
closure of design elements in different parts
of the work so that the parts RELATE to each
other and create a unified whole, that can be
greater than the sum of the parts, rather
than an ill-fitting and meaningless
assortment of elements.

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