To be posted on humnlit wordpress com Visual

To be posted on humnlit. wordpress. com Visual Elements Shape Mass Texture

Shape the expanse within the outline of a 2 D area or within the outer boundaries of 3 D objects

A shape becomes visible when: a line/s enclose/s an area 2. the apparent change in value, color, or texture sets an area apart from its surroundings 1.

Kinds of Shapes 1. Geometric precise, regular shapes found mostly in the man-made world squares, rectangles, triangles, circles, ovals

Life No. 1. Auguste Herbin.

The Illusion of Reality. John Lautermilch.

Kinds of Shapes 2. Organic irregular, uneven, often curving and rounded free-form relaxed, informal

“Shapely” abstraction by Reggie Laurent

Figure and Ground Figure (positive shape) the shape we detach and focus on subject, active, dominant Ground (negative shape) the surrounding visual information the figure stands out from neutral or passive background areas

Figure-ground relationships - interactions between figure (positive) and ground (negative) shapes - a fundamental aspect of perception; it allows us to sort out and interpret what we see.

Figure-ground reversal

Figure-ground reversal - when interactions between figure shapes and ground shapes are heightened in some images

Sky and Water I (1938). M. C. Escher.

Symmetry drawing by M. C. Escher.

Madonna of the Meadows (1505). Raphael.

Implied Shapes

Mass a three-dimensional form the physical bulk of a solid material Volume the space within a form the quality of an object which enables us to know that it has thickness/depth as well as length and breadth

Actual and Implied Mass actual mass – as on a three-dimensional object implied mass – as on a two-dimensional surface

Recumbent Figure (1938). Henry Moore. Green hornton stone. Length. 54 inches. Qennefer, Steward of the Palace (1450 BC) Black granite 2 feet, nine inches.

Mother and Child (1907). Paula Modersohn-Becker.

Head of a Young Man (1923). Pablo Picasso.

Texture the tactile qualities of surfaces or their visual representation experienced by touching or by visual suggestion

Actual and Simulated Texture actual texture – can be felt by touch simulated texture (implied) - created to look like something other than paint on a flat surface

Tulips. Jeff Koons.

Princesse Albert de Broglie, née Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn (1853). Jean Auguste Dominique Ingres.

Object (1936). Meret Oppenheim.

The Kiss (1908). Gustav Klimt.

Detail from The Starry Night (1889). Van Gogh.

Impasto a technique where paint is laid on the canvas thickly enough for the brushstrokes to become visible

Pattern repetitive, ordered surface designs can create visual texture but tends to flatten our perception of mass and space

Untitled (1950’s). Seydou Keita.

To be posted on humnlit. wordpress. com Visual Elements Time and Movement

Time and Movement Time is a non-spatial continuum—events occur in succession. Because we live in a combined environment of space and time, our experience of time often depends on our movement in space and vice versa.

Dynamism of a Dog on a Leash (1912). Giacomo Balla.

The Scrabble Game (1983). David Hockney.

One Candle (1988). Nam June Paik.

Man Pole Vaulting (1884). Thomas Eakins.

Moving Skip Rope (1952). Harold Edgerton.

Milk Splash (2006). Eric Delmar.

Stick Splash (2006). Eric Guideng.