AP ART

20 Variations

LINE:

• A mark made with a pointed tool (a brush, pencil, stick, pen, etc.) and is often defined as a moving dot. A line is created by the movement of a tool and pigment, and often suggests MOVEMENT in a drawing or painting.

Calligraphy in White

Mike Tobey

The word “calligraphy refers to the quality of a line that is thick and thin

LINE:

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VARIETY of line!

LINE (Variety):

LINE:

VALUE through line!

Cypress Drawing

Vincent Van Gogh

LINE:

IMPLIED LINE!

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Still Life With Oranges

Paul Gauguin

LINE:

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Contour Lines: Gestural Lines:

SHAPE:

Shape is an area that is contained within an implied line, or is seen and identified because of color or value changes. **DESIGN in painting/ drawing is basically the planned arrangement of shapes in a work of art.

Pablo Picasso

SHAPE:

Geometric and Organic Shapes:

SHAPE: Positive vs Negative

SHAPE: Abstraction

Marc Chagall

Michalene Thomas

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SHAPE:

Street Artist Matt Moore

Pablo Picasso

VALUE:

-Value refers to dark and light. Value contrasts help us see and understand a 2D work of art. Value helps create the illusion of something being 3D on a 2D surface.

VALUE:

Georges Braque

VALUE:

HIGH KEY (light values) vs LOW KEY (dark values):

The Potato Eaters

Vincent Van Gogh

VALUE:

CONTRAST

M. C. Escher

VALUE:

ATMOSPHERIC PERSPECTIVE: in a landscape, areas that are closer to the viewer have DARKER values, and areas that are farther away have LIGHTER values to show distance and depth.

MASS/VOLUME:

VOLUME = when a shape has the illusion of being 3D on a 2D surface.

MASS = when the 3D shape begins to have more visual weight and density.

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MASS/ VOLUME:

VOLUME:

Self-Portrait in Cap

Rembrandt

MASS / VOLUME:

MASS and VOLUME can both be simulated on a 2D surface through the use of modeling and shading:

MASS / VOLUME:

MASS: color can help imply MASS, as darker colors appear HEAVIER.

Hiroshi Yoshida

MASS / VOLUME:

MASS can be created through the PLACEMENT of images: objects closer to the edge of the paper appear heavier.

MASS / VOLUME:

Poster from 1930 depicting Russian soldiers

SPACE:

-Actual space is a three-dimensional volume that can be empty or filled with objects. Various techniques can be used to show the ILLUSION of this depth and space on a 2D surface.

Overlapping, and size of objects.

SPACE:

SFUMATO: Making the background of an image hazy or atmospheric to show that it is very far away.

Mona Lisa

Leonardo Da Vinci

SPACE:

LINEAR PERSPECTIVE

SPACE:

OVERLAPPING

Henri Matisse

COLOR:

ANALOGOUS = next to each other on the color wheel

MONOCHROMATIC = shades and tints of the same HUE

COLOR:

TINTS, TONES and SHADES:

Tint = adding white to a HUE

Tone = mixing COMPLEMENTARY COLORS to create neutralized hues.

Shade = adding black to a HUE

COLOR:

COOL COLORS recede, while WARM colors come forward.

J. M. W. Turner

COLOR:

warm vs. cool colors to show mood

WAssily Kandinsky

The Old Guitarist

Pablo Picasso

COLORS

CONTRAST

Auguste Renoir

Complementary Colors

TEXTURE:

The surface quality, both SIMULATED and ACTUAL (Physical) of artwork.

David Hockney

by Lucian Freud

TEXTURE:

SIMULATED:

Idea Density

Jenny Kemp

TEXTURE:

SIMULATED:

Orit Hofshi

- Israeli printmaker: woodcuts

TEXTURE:

Actual or PHYSICAL texture:

Joan Snyder

TEXTURE:

Anselm Kiefer

(detail)

TEXTURE:

Physical texture:

UNITY:

Unity provides the COHESIVE quality that makes a work of artwork feel complete and finished. An artist has achieved unity when all elements of an artwork look like they belong together.

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Starry Night

Vincent Van Gogh

unity occurs when all of the elements of a piece combine to make a balanced, harmonious, complete whole.

UNITY:

UNITY:

What do you notice about the surface of this painting?

Neysa Grassi

UNITY

Clustering of elements

Wassily Kandinsky

UNITY:

Repetition:

UNITY:

Sean Scully

BALANCE:

BALANCE:

RADIAL:

BALANCE:

SYMMETRICAL:

African Mask

BALANCE:

ASYMMETRICAL BALANCE:

BALANCE:

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ASYMMETRICAL:

Paul Cezanne

BALANCE:

ASYMMETRICAL:

BALANCE:

ASYMMETRICAL:

Winslow Homer

RHYTHM:

The repetition of visual movement. MOVEMENT and RHYTHM can work together to achieve the visual equivalent of a musical beat.

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*Rhythm is SIMILAR to pattern in that it is repeated, but the shapes are not exactly the same.

RHYTHM:

The Great Wave

Hokusai

RHYTHM:

Nude Descending Staircase

Mascel Duchamp

RHYTHM:

IRREGULAR RHYTHM:

abrupt, and change frequently.

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Martha Armstrong

RHYTHM:

PROGRESSIVE RHYTHM:

MOVEMENT:

movement lines:

MOVEMENT:

Edgar Degas

MOVEMENT:

Edgar Degas

MOVEMENT:

Keith Haring

MOVEMENT:

Keith Haring

MOVEMENT:

Michaelangelo Caravaggio

MOVEMENT

Movement Helps convey EMOTION!

Jackson Pollock

Kathe Kollwitz: LINE

PATTERN:

PATTERN:

Navajo Rugs:

PATTERN:

Kehinde Wiley

PATTERN:

Repetition Vs. Pattern Vs. Rhythm in Art:

CONTRAST:

Differences in VALUES, COLORS, TEXTURES, SHAPES, and other elements. Contrast is when things STAND OUT against one another. **If students do not have enough CONTRAST between the values in a drawing, that is when I say: “GO DARKER!”. ;)

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CONTRAST:

Color Contrast:

complementary colors:

warm vs. cool colors

dark vs. light colors

CONTRAST:

VALUE contrast:

Michelangelo Caravaggio

CONTRAST:

SHAPE, COLOR

Fiona Rae

CONTRAST:

TEXTURE vs. FLAT/ SMOOTH

• COLOR CONTRAST

Colby

2013

EMPHASIS:

Used to FOCUS the attention on something in a composition.

-Ways to create emphasis: Make something larger, give it a contrasting color, carefully choose where it is placed in the composition, give it a contrasting shape, Have other elements leading towards it….

EMPHASIS:

Using the RULE OF THIRDS:

Using the rule of thirds, when your image is divided into six sections like this, objects placed at the intersection can create a nice focal point, or point of interest to be emphasized.

EMPHASIS:

COLOR:

EMPHASIS:

The Kiss

Egon Schiele

EMPHASIS:

SYMMETRY:

Georgia O’keefe

EMPHASIS:

CONTRASTING SHAPE:

EMPHASIS:

Edvard Munch

The Scream

HARMONY:

HARMONY:

“When paintings are done right, harmony appears by itself. The more numerous and varied they are, the more the effect is obtained and agreeable to the eye”.

-Paul Cezanne

CLOSURE:

CLOSURE is leaving parts of an object open so the viewer can fill in the missing information.

CLOSURE:

Banksy

ECONOMY:

The principle of ECONOMY suggests that a good composition is the most simple solution to the design problem.

• Minimal Design
• Simplicity in Art
• Keeping it Simple is the KEY to good design!

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American Painter Sean Scully

ECONOMY:

Brancusi

ECONOMY:

Milton Avery

ECONOMY:

Barnett Newman

TENSION:

• Physical or mental strain or stress
• a force created by stretching or pulling
• The interplay of conflicting elements
• A situation or condition of hostility, suspense, or uneasiness
• A BALANCE maintained in a work of art between opposing forces or elements

TENSION:

BALANCE between two very different elements

TENSION

ASYMMETRICAL space/ composition creates an uncomfortable feeling

TENSION

• Adds visual INTEREST and ENERGY

TENSION

TENSION

-Dot in the center = comfortable!

- Dots moving closer to the edge create tension as they appear to be trying to move off the page ...they are less stable!