THE ELEMENTS OF DESIGN Elements of Design Line

THE ELEMENTS OF DESIGN

Elements of Design • • Line Shape Mass Light Value Color Texture Space

Elements of Design *added element Line: path of a moving dot. Actual & 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 * TIME AND MOTION: Kinetic art, Mobiles Light: Digital & electronic Actual & Implied Value: Relative light & dark Chiaroscuro( modeling from light to dark) Color: Hue Analogous (warm & cool) Primary Secondary Complementary Pointillism: optical mixing Texture: Actual & Visual Space: Actual, Implied Space, Linear Perspective

Line implies direction and movement.

Judy Pfaff. Cirque, cirque. 1992 -95. Construction of steel and aluminum tubes, handblown glass orbs, etc. Pennsylannia Convention Center, Philadelphia.

Line as contour and outlines Contour lines gives the illusion of three dimensional form. Outline describes only the outer edge.

Thomas Eakins. The Biglin Brothers racing, 1873 -74. oil on canvas, 24 1/8 x 36 1/8

Shape and Mass • A Shape is a two-dimensional form. • Mass is a three dimensional form that occupies a volume of space. • Mass & shape can be divided into two categories, geometric and organic • Geometric Shapes: square, triangle, hexagon, circle, etc. • Organic Shapes: irregular & evoking living forms in nature.

Raphael. The Madonna of the Meadows. 1505. Oil on panel, 44 ½ x 34 ¼”

James Turrell. Light James Turrell. Live Oak Friends Meeting of Houston, Texas “skyspaces”

Light and Shadow • Value scale light to dark • Chiaroscuro, Italian word for light/dark. • Modeling from light to dark

Leonardo da Vinci. The Virgin and Saint Anne with the Christ child and John the Baptist. Charcoal, black & white chalk on brown paper

Charles White. Untitled. 1979. Etching, 4 x 5 ½”.

Color • Color Theory traced to Isaac Newton • Newton prism –red, orange, yellow, green, blue, and violet • Color wheel • Primary colors-red, yellow and blue • Secondary colors- orange, green, and violet • Tertiary colors mixed by primary colors and an adjacent secondary color • Complementary colors are directly opposite on the color wheel

• Color Properties: hue, value & intensity • Hue is the name of the color • Value refers to relative lightness or darkness. • Tint is adding white to a color. • Shade is adding black to a color. • Intensity—also called chroma or saturation —refers to the purity of the color.

Colors of Light & Colors of Pigment

Color harmony • Color Scheme is the selective use of two or more colors in a single composition. • Monochromatic harmonies are composed of variations on the same hue, often with different value and intensity. • Complementary harmonies directly opposite • Analogous harmonies colors adjacent to one another on the color wheel. • Restricted palette • Open palette

Monochromatic Pierre-Auguste Renoir: Portrait of the Actress Jeanne Samary. 1878. Oil on canvas, 5’ 8 ¼ x 3’ 4 ¼” James Abbott Mc. Neill Whistler. Nocturne in Blue and Gold( Old Battersea Bridge). C. 1872 -75. oil on canvas 23 3/8” x 18 3/8”

Analogous Color Stephen Mueller. Madrugadra 2. 2001. Acrylics on canvas, 70 x 80”.

Optical color mixing George Seurat. A Sunday on La Grande Jatte. 1884 -86. Oil on canvas, 6’ 9 ¾” x 10’ 1 ¾”

Chuck Close. Bill. 1990. Oil on canvas, 6 x 5’.

Emotional Effects of Color James Abbott Mc. Neill Whistler. Nocturne in Blue and Gold( Old Battersea Bridge). C. 1872 -75. oil on canvas 23 3/8” x 18 3/8

Edvard Munch. The Scream. 1893. Tempera and casein on cardboard, 36 x 29”

Texture & Pattern • Texture refers to surface quality – a perception of smooth or rough, flat or bumpy, etc. • Actual Texture is literally tactile, a quality experienced through touch. • Visual Texture in painting or drawing is with markings our eyes associate with texture are there, whether they actually depict texture or not.

Pattern is any decorative , repetitive motif or design. Samuel Fosso. The Chief: He who sold Africa to the Colonists, from Self. Portraits I-V. 1997

Space • Three dimensional space the actual space in which our bodies stand. • Implied Space: Suggesting Depth in Two dimensions • Picture plane • Linear Perspective

Leonardo da Vinci. The Last Supper( after restoration). C 1495 -97. Fresco, 15’ 1 1/8 ” x 28’ 10 ½ ”

FORESHORTENING • Applying linear perspective where form recedes into space to animals & humans. • The use of a grid to aid in capturing foreshortening. • Foreshortening refers to the visual effect or optical illusion that an object or distance is shorter than it actually is because it is angled toward the viewer.

Hans Baldung Grien. The Groom and the Witch. c. 1540. Woodcut, image 13 15/16 x 7 1/8”

Albert Durer. Draftsman Drawing a Reclining Nude, from the Art of Measurement. c, . 1527. Woodcut, 3 x 8 ¼”

Atmospheric Perspective • Atmospheric perspective is based on the idea/observation that distant objects appear less distinct, paler; and bluer than nearby objects due to the way moisture in the air.

Albert Bierstadt. The Rocky Monutains Lander’s Peak. 1863. Oil on canvas, 6’ 1 ¼” x 10’ ¾”

TIME AND MOTION • Time became a conscious element in painting with the works of the Impressionist painter Claude Monet. • The Futurist art movement observed motion, speed, energy, and daring. • Mobiles are sculptures in motion and are the creation of Alexander Calder. • Kinetic art from the Greek word kinetos, moving.

Futurism: Giacomo Balla. Dynamism of a Dog on a Leash. 1912. Oil on canvas, 35 3/8 x 43 ¼”

Alexander Calder. Southern Cross. 1963. Sheet metal, rod, bolts, and paint; height 20’ 3”

Eve Sussman. 89 seconds at Alcazar. Single channel video.

Jennifer Steinkamp. Dervish, detail. 2004. Video installation at Lehmann Maupin Gallery, New York, January 10 -February 14, 2004; each tree 12 x 16’