Artistic Block the interruption of Balance Additive Color System a color mixing system in which combinations of different wavelengths of light create visual sensations of color. Ambiguous space a space that has more than one-way of being perceived. The use of ambiguous space often creates a feeling of discomfort for the viewer, which articulates the feelings of discomfort often associated with modernity. stability or equilibrium created by distribution of visual weight on each side of a central axis. Asymmetrical balance is achieved by adjusting the visual weight of various elements in different parts of a composition. The focal point is off center. Symmetrical balance a formal balance. Similar shapes are repeated in the same positions on both sides of a vertical axis. Mirror image. an artist s natural creative output. Often accompanied by feelings of severe frustration and loss of confidence. Body copy text used in the body of a document. Color Properties Hue a term used to designate the common name of a color and to indicate its position in the visible spectrum or on the color wheel. Hue is determined by the specific wavelength of the color in a ray of light. Hue is a property of light. One hue can be varied to produce many colors. Chiaroscuro an Italian word that that refers to the gradual transition of values used to create the illusion of light and shadow on a three dimensional form. CMYK The four basic colors (Cyan, Magenta, Yellow and Black) from which all colors are optically layered and mixed during a printing process. Intensity the third property of color refers to the saturation, or purity of a color. Intensity also refers to the brightness of a color and should not be confused with value, or how light or dark a color appears.
Value the lightness or darkness of a color. A color may be classified as equivalent to some member of a series of shades ranging from black to white. Color scheme is a group of selected colors that establish a color harmony and act as a unifying factor in a work of art. (Monochromatic, Complementary, Split complementary, Triadic and Analogous color schemes). Color temperature refers to whether a color appears warm or cold. Warm colors are the reds, oranges and yellows, while cool colors are blues greens and violets. Color temperature may also refer to the temperature bias of a particular color. Color wheel a circular chart that organizes and displays the interrelationship of colors. Based in the visible spectrum. First developed by Sir Isaac Newton. Complementary colors colors directly opposite each other on the color wheel. Together they represent the strongest hue contrast, such as red and green. Mixed, the complements will begin to darken and neutralize each other. (See intensity) Conceptual design the thought behind the design or work of art and what it is communicating. Context where and when a design or work of art was created or where and how the work will be seen and used. Contrast the difference in visual properties (such as value, color, texture, size and weight) that make a shape, form or image stand out from other shapes, forms or images and from the back-ground.
Design (verb) to design is to plan, to organize. Design is a part of many different discplines. Design is the opposite of chance. Design is the visual organization of the elements. Elements of design the means by which an artist makes visible their ideas, including line, shape, value, color and texture. Eye-level the height at which your eyes are located in relation to the ground plane. An imaginary line placed in a position equal to the viewer or artist s eyes. The guidelines or principles of design include unity and variety, emphasis, balance, rhythm, movement, scale and space. Design (noun) is the end result of Focal point a compositional device emphasizing a certain area or object to draw attention to the artwork and to encourage scrutiny of the work. Also called a point of emphasis. Focal points are required to achieve balance in a composition. Not all designs have a focal point. the plan, the finished product. Gestalt a school of psychology started in Germany around 1912. The Grid a network of horizontal, vertical and sometimes diagonal intersecting lines that divide the format and create a framework. direction of study was on how humans see and organize information into a meaningful whole. The idea developed Harmony agreement within a composition, where elements are constructed, arranged and function in relation to one another to an agreeable effect. that the whole is more than the sum of its parts. For instance the brain connects the dots placed in a square as a whole shape not as individual dots. In design the process of Gestalt is used to unify information into a whole image. Layout the placement of images, or type within a two-dimensional format. Linear perspective as parallel lines recede, they appear to converge and to meet on an imaginary line called the horizon or eye level at a common spot called the vanishing point. There can be several vanishing points but they are all located along the same horizon line.
Kinetic art actual movement, Measuring or sighting the use of a tool such as a pencil to gauge the relative size or proportion of one object to another. artwork that moves, such as mobiles or mechanized sculpture. Mass the weight or density of an object. Movement (eye movement) the deliberate or intuitive arrangement of elements in a design or work of art that allow the viewers eyes to move from one element to another. This form of movement helps to unify. Nonobjective art does not represent any specific object, meant to symbolize an idea, rather than refer to a thing. Point of view is determined by the position of the artist or viewer and the angle of ones vision in relation to the thing being seen. Primary colors are colors that cannot be mixed from other colors. Primaries are the source for all other hues on the color wheel. Principles of Design the means by which artists organize and integrate the elements into a unified arrangement, including unity with variety, emphasis, balance, rhythm, movement, scale and space.
Proportion refers to the relative size of an element as measured against other elements. Size is measured against other elements or against some mental norm or standard. That norm or standard is often the human body. Representational art depicts a recognizable object or thing in a highly realistic way or modified for expressive purpose. RGB Primary colors of light (additive system) from which all other colors are mixed: Red, Green and Blue. ROYGBIV the hues of the visible spectrum, in order: red, orange, yellow, green, and blue, indigo, violet. Scale not the actual size of the object but the feeling of how large or small a viewer perceives a given object. The perception of scale is usually related to the objects relationship to something else or its relationship to the size of a human. Scale can be influenced by the objects position in space (depth) relationship to other objects or the relationship of the object to the format or edge of the picture. Shading an attempt at recreating the way light moves across the surface of an object. Works best with pencil, charcoal, chalk, pastel, or paint. Types of shading include hatching, crosshatching and stippling. Simultaneous contrast when a value appears to change due to the other values surrounding it. A middle gray value seems darker against a light background and lighter against a dark background. The effect is created by two values seen in juxtaposition (side by side). Intensified contrast results whenever two different values come into direct contact. Any value will appear different when next to a lighter value or a darker value. When two colors are placed together, each affects our perception of the other, and a small but noticeable change in the appearance of the colors usually occurs. (This effect works for both color and value perceptions.) Usually both colors will lose some of their intrinsic character and become tinged with new effects. A color seems to shift our perception of an adjacent color or a neutral toward the first color s complement; a color is created in the eye and brain, and not objectively present.
Bibliography Enstice, Wayne and Peters, Melody. (2003) Drawing: Space Form and Expression. Pearson Prentice Hall. Landa, Robin, Gonnella, Rose and Brower, Steven. (2007)2D Visual Basics for Designers.Thomson/Delmar Learning. Lauer, David A. and Stephen Pentak. (2007) Design Basics. Wadsworth. Martinez, Benjamin and Jacqueline Block. (1995)Visual Forces. Prentice Hall Cited: M.C. Escher, Relativity, 1951 John Singer Sargent, The Daughters of Edward Darley Boit. 1882. Giotto di Bondone. Virgin and Child Enthroned. 1305-1310. Rembrandt van Rijn. The Company of Captain Leonardo da Vinci. The Virgin of the Rocks. c. 1485. Ellsworth Kelly, Blue Green Red. 1963. Marcel Duchamp. Fountain. 1917. Soldiers, Qin Dynasty, c. 210 BCE. Sandro Botticelli. Birth of Venus. c. 1484-1486. Walker Evans, Alabama Tenant Farmer Wife, 1936. Raphael, School of Athens. 1510-1511 Frans Banning Cocq (The Night Watch). 1642. Robert Frank. Trolley. New Orleans. 1955-1956. Masaccio. Trinity with the Virgin, St. John the Evangelist, and Donors. c. 1425-1427/1428. Alexander Calder. Lobster Trap and Fish Tail. 1939. Richard Serra. Tilted Arc. 1981-1989. Bishop Odo Blessing the Feast, the Bayeux Embroidery. c. 1066-1082. Robert Delaunay. Homage to Bierlot. 1914. Caravaggio. The Conversion of St. Paul. c. 1601. Edward Hopper, Early Sunday Morning, 1930. Leonardo da Vinci. Vitruvian Man. c. 1490. Aphrodite of Melos (Also called Venus De Milo). c. 150-100BCE. Ti Watching a Hippopotamus Hunt, Tomb of Ti, Saqqara, Fifth Dynasty, c. 2450-2325BCE. Henry Moore, The Artist s Hands c. 1974 Leonardo da Vinci. The Last Supper. 1495-1498. Auguste Rodin. The Burghers of Calais. 1884-1889. Subtractive color system a color mixing system in which a physical substance called pigment is combined to create visual sensations of color. Wavelengths of light absorbed by the substance are subtracted and the reflected wavelengths constitute the perceived color. Mixing all hues of pigment produces black. Surface is a flat, two-dimensional area onto which the elements of design are placed. The treatment of the surface can vary from a flat surface to one that shows depth. The elements can be arranged so the surface looks three dimensional like a window or threshold into the picture s space. This is referred to as a picture plane. The designer may also choose to arrange the elements in such a way that the flatness of the surface is not changed. Typeface a single set of letterforms, numerals, and signs unified by consistent visual properties. Visual Hierarchy arranging elements according to emphasis. Visual weight forms in an artwork that appear to have either heaviness or importance.