# Why do we have to learn this?

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1 Fundamentals of Art

2 Why do we have to learn this? Humans need language to communicate ideas. Art uses a type of language to communicate ideas. The art language is based on concepts called the ELEMENTS and PRINCIPLES of Design

3

4 Elements of Art Building blocks that make up a work of art Every piece of art can be reduced to its elements

5 There are 5 Elements: Line Shape Color Texture Value Remember, Lucy Should Cut The Vine

6 LINE How would you describe what a line looks like?

7 Line Variation (Ways you can change a line) Length Width Texture Direction Curve

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11 Grant Wood, Midnight Ride of Paul Revere

12 SHAPE How would you describe a shape?

13 Jacob Lawrence, Forward

14 Henri Matisse, Beasts of the Sea

15 Shape A 2-dimensional area that is defined in some way from the space around it

16

17 Kinds of shapes GEOMETRIC come from mathematical formulas (generally have names) ORGANIC irregular and uneven

18 Form and Space FORM a 3-D shape (or the illusion of 3 dimensions on a 2- dimensional surface) SPACE the area between, above, below, around, or within objects (positive & negative)

19 COLOR most expressive element and probably the most complicated

20 Color We see color as a result of reflected light White light from the sun is actually a combination of the SPECTRUM OF COLORS Spectrum order:

21 The Color Wheel HUE name of the color (ex. yellow ) PRIMARY (red, yellow, blue) SECONDARY (orange, green, violet) TERTIARY (red-orange, yelloworange, yellow green, etc.)

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23 HUE named colors SHADES colors + black TINTS colors + white

24 Intensity and Complements INTENSITY brightness or dullness of a hue COMPLEMENT color opposite (across from) a given hue on the color wheel You can change the intensity (MUTE) a color by adding its complement.

25 Intensity

26 Color Schemes Color schemes are like formulas to choose colors from the color wheel MONOCHROMATIC (1 hue + shades/tints) WARM & COOL (half the color wheel focusing on reds (warm) or blues (cools))

27 More Color Schemes COMPLEMENTARY (2 opposite hue + s/t) SPLIT COMPLEMENT (1 hue + the 2 neighbors of its opposite + s/t) TRIADIC (3 evenly spaced hues + s/t) ANALOGOUS (3-4 neighboring hue + s/t)

28 TEXTURE How something feels or looks like it feels

29 INVENTED SIMULATED ACTUAL Meret Oppenheim, Object

30 VALUE Lightness or darkness of an object or area

31 Ways to create different values Vary the pressure of your drawing tool Vary the tool (soft B pencils are darker than hard H) Vary the color or pigment (yellow is lighter in value than violet) Vary the space between shading marks (HATCHING and CROSSHATCHING)

32 PRINCIPLES Rules that determine how artists organize the elements of design

33 Elements vs. Principles Building Blocks Blueprints for how to arrange them

34 Another way to think of it: In Science terms, elements are like atoms and principles are like chemical formulas In English terms, elements are the parts of speech (nouns, verbs, adjectives, etc.) and principles are rules of grammar

35 Principles Rhythm Movement Balance Proportion Unity/Harmony (Variety) Emphasis

36 RHYTHM Creates movement by repeating elements

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39 MOVEMENT The look and feeling of action that guides the viewer s eyes throughout the work of art

40 Giacomo Balla, Dynamism of a Dog on a Leash

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43 BALANCE Equalizing visual elements in a work of art

44 Main types of balance FORMAL Symmetry: exactly the same on both sides of the axis (for the most part) INFORMAL Visually appears balanced based on un-matching objects or areas of visual weight

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46 Grant Wood, American Gothic

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49 Thomas Eakins, Baby at Play

50 PROPORTION Size relationships of one part to another

51 Claes Oldenburg, Spoonbridge and Cherry

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56 UNITY HARMONY feeling of relatedness by showing similarities within the artwork

57 Jasper Johns, Zero Nine

58 Vincent Van Gogh, La chambre de Van Gogh à Arles (Van Gogh's Room at Arles)

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60 EMPHASIS Making one part of a work (FOCAL POINT) dominant over the others

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