1. The Elements of Design

2. Line Line-a mark made by a pointed tool—a moving dot
Has length and width (very small)
Created by the movement of a tool and pigment

3. Line Suggests movement in a drawing or painting
Variety in thickness of lines creates surface interest
Can be thick, thin or combination of both

4. Line
In nature: line can be seen as tree branches, cracks in rocks, grasses, flower stems, spider webs, etc.
Contour lines: outline the edges of forms or shapes and describe shapes and forms in the simplest way

5. Line Gestural lines: indicate action and physical movement
Implied lines: the edges of objects—if the object were silhouetted against the light

6. Line Lines can be used to create values and textures
Hatching: the placing of many lines next to each other
Cross-hatching: occurs when many parallel lines cross each other.

7. Line

8. Shape
Shape: an area that is contained within an implied line or is seen and identified because of color or value changes
Have 2 dimensions: length and width
Can be geometric or free-form

9. Shape
Designing in painting is the planned arrangement of shapes in a work of art
Shapes are either positive or negative
The subject in a realistic work is usually the positive and the background is the negative

10. Shape
In abstract (nonobjective) art, positive shapes are usually central or featured elements—negative shapes surround them
All shapes can be described 2 ways: geometric and organic

11. Shape Geometric shapes: square, triangle or rectangle
Organic shapes: free-form
Shapes in nature are organic.

12. Shape

13. Form
Form describes volume and mass, or the 3-dimensional aspects of objects that take up space.
Shape is 2-dimensional, form is 3 dimensional
Can be viewed from many angles

14. Form
Architectural forms usually contain enclosed spaces and most are geometric forms.
Curvilinear forms: arches, ovals, etc.
Natural forms: flowers, mountains, rocks, animals, people, etc.

15. Form Geometric forms: squarish, cubistic, straight-edged
Organic forms: rounded, flowing, undulating.
Abstract forms: simplify forms to their basic characteristics

16. Form Nonobjective forms: do not represent natural forms.
Realistic forms: depict people, animals, birds, and plants as they actually appears.

17. Form

18. Value
Value: dark and light contrast—allows us to read the letters on a page
Value contrast is also evident in colors
High key paintings are made mostly of light values w/ minimum contrast—suggest happiness, light, joy, and airiness.

19. Value
Low key paintings use dark valued hues and contain little value contrast—suggest sadness, depression, loneliness, and mystery.
Add white to make lighter contrasts in color.

20. Value Add black to make darker contrasts in color.
Value changes help us “feel” the shape of an object by showing us how light illuminates it and creates shadows on it.

21. Value Value describes form
Value creates a focal area or center of interest
Value defines space

22. Value

23. Texture
Texture: the surface quality, both simulated and actual, of artwork.
Techniques in paintings can show texture—ex. dry brush

24. Texture
Simulated texture: occurs when smooth painting surfaces appear to be textured
Actual texture: heavy application of pigment with brush or other implement.

25. Texture
Color and value contrasts help you “feel” texture with your eyes.
Interior designers use textural variety to create interest.

26. Texture

27. Space
Actual space is 3-dimensional—can be empty or filled with objects.
Has width, height, and depth.
Space that appears 3-dimensional in a 2-dimensional painting is an illusion that creates a feeling of actual depth.

28. Space Actual (real) space: sculptures, architecture, and craft pieces.
If objects or people overlap in a painting/drawing, we sense space between them.
If overlapping is combined with size differences, the sense of space is greatly increased.

29. Space Linear space: a way of organizing objects in space.
1-point perspective: used if the artist is looking along a street or directly at the side of an object.
2-point perspective: used when looking directly at the front corner of a box, building, automobile, or other form.

30. Space
Combining 2-point perspective with light and shadow greatly increases the sense of space.
Aerial perspective: a way of using color or value (or both) to show space or depth: distant elements appear lighter in value, have less details, and less intense color.

31. Space

32. Color
Color depends on light because it is made of light—there must be light to see color.
The whiter the light, the more true the color.

33. Color
Yellow light on a full color painting will change the appearance of all the colors.
Light passing through a prism separates into the hues seen in a rainbow.

34. Color Three properties of color: 1. Hue: the names of the colors
Primary hues: yellow red blue
Secondary hues: made by mixing 2 primaries.
Intermediate colors are mixtures of a primary and adjacent (next to) secondary color.
2. Value: the lightness or darkness of a hue.
3. Intensity: the purity of the color

35. Color
Warm colors: yellow to red-violet on the color wheel—represent warmth—In a painting they seem to advance.
Cool colors: yellow-green through violet—represent cold—In a painting they seem to recede.
Neutral colors: made by adding a complementary color to a hue—called tones.

36. Primaries

37. Secondaries

38. Tertiaries

39. Color Wheel

40. Color