Elements of Design s1
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CLASSROOM RULES
BE IN SEAT WHEN BELL RINGS
WHEN SPEAKING – LISTEN
FOLLOW CLEANUP PROCEEDURES
CLEAN AREA BEFORE SELF
DO NOT SAY “SHUT UP” OR “NAMES”
REWARDS
GUM – ANYTIME COKES – ANYTIME BUT PRUCHASED BEFORE CLASS BONUS POINTS
IPODS/PHONES
CONSEQUENCES
WARNING D-HALL FULL D-HALL OFFICE AND PARENTS Portfolios
Art 1 – 2 quality works per Semester
Art 2 – 4 quality works per Semester
Painting – 4 quality works per Semester
Due January 10 – Major Grade
Art Fee
Art 1 – 20 dollars for the Year
Art 2 – 40 dollars for the year
Painting – 40 dollars for the year ELEMENTS OF DESIGN
LINE, COLOR, SHAPE, TEXTURE, FORM, SPACE
LINE – THE PATH OF A MOVING POINT
TWO TYPES OF LINE – STRAIGHT AND CURVED
VERTICAL/ HORIZONTAL – STABLE WITH NO MOVEMENT DIAGONAL – UNSTABLE WITH MOVEMENT
ACTUAL LINES – LINES YOU CAN SEE IMPLIED LINES – LINES YOU CANNOT SEE BUT MAKE YOU LOOK IN A CERTAIN DIRECTION
LIGHTER, FUZZIER LINES APPEAR TO BE FURTHER AWAY
CLEAR, DARK LINES APPEAR TO BE CLOSER
PRIMARY COLORS – RED, BLUE, YELLOW NO OTHER COLORS MIXED TOGETHER MAKE A PRIMARY ALL OTHER COLORS ARE MADE BY MIXING THE PRIMARIES SECONDARY COLORS – ORANGE, GREEN, PURPLE MADE BY MIXING TWO PRIMARIES TOGETHER
INTERMEDIATE COLORS – R/O B/G B/P Y/O Y/G R/P MADE BY MIXING A PRIMARY WITH A SECONDARY
COMPLIMENTARY COLORS – COLORS OPPISITE ON THE COLOR WHEEL
ANALOGOUS COLORS – COLORS NEXT TO EACH OTHER ON THE COLOR WHEEL
MONOCHROMATIC COLORS – THE TINTS AND SHADES OF ONE COLOR
TINT – THE LIGHT AREAS OF A DRAWING
SHADE – THE DARK AREAS OF A DRAWING
WARM COLORS – RED, YELLOW, ORANGE SEEM TO COME TOWARD THE VIEWER
COOL COLORS – BLUE, GREEN, PURPLE SEEM TO MOVE AWAY FROM THE VIEWER
HUE – THE COMMON NAME OF A COLOR
LIGHT – THE VISUAL PORTION OF THE SPECTRUM SHAPE – A TWO DIMENSIONAL AREA ENCLOSED BY A LINE
FORM – A THREE DIMENSIONAL OBJECT
TEXTURE - VISUAL TEXTURE – TEXTURE THAT CAN BE SEEN BUT NOT FELT TACTILE TEXTURE – TEXTURE THAT CAN BE SEEN AND FELT
SPACE – POSITIVE – THE AREA OF INTEREST IN A DRAWING OR PAINTING NEGATIVE – THE AREA THAT SURROUNDS THE POSITIVE SPACE
PERSPECTIVE – A WAY TO MAKE DRAWINGS APPEAR 3-D ONE POINT TWO POINT
HORIZON LINE – A LINE AS FAR AS THE EYE CAN SEE VANISHING POINT – WHERE ALL OBJECTS SEEM TO RECEED CONTRAST – DIFFERENCE BETWEEN LIGHT AND DARK PRINCIPLES OF DESIGN
BALANCE, COMPOSITION, PATTERN, EMPHASIS, VARIETY, UNITY, RHYTHM MOVEMENT
BALANCE – ASSYMETRICAL – WHEN ONE SIDE APPEARS DIFFERENT THAN THE OTHER
SYMETRICAL – WHEN BOTH SIDES APPEAR EQUAL
RADIAL – LINES COMING FROM A CENTRAL POINT
COMPOSITION – THE ARRANGEMENT OF PARTS IN ART
PATTERN – REPEATING A SHAPE, LINE, COLOR IN AN ARTWORK
UNITY – A SENSE OF TOGETHERNESS IN AN ARTWORK EMPHASIS – TO PLACE GREATER ATTENTION ON AN AREA OF AN ARTWORK MOVEMENT – A WAY TO MAKE YOUR EYE MOVE THROUGH AN ARTWORK
RHYTHM – A FORM OF MOVEMENT IN AN ARTWORK
VARIETY – ADDING CHANGE TO COLOR, SHAPE, TEXTURE TO ADD INTEREST DRAWING PEOPLE
GESTURE –DRAWING A PERSON QUICKLY TO CAPTURE A POSE
SUSTAINED GESTURE- DRAWING A PERSON QUICKLY BUT ADDING SOME DETAIL
SUSTAINED DRAWING- A DETAILED DRAWING BUT NOT AS A STUDY
STUDY- A DRAWING THAT LOOKS LIKE ALMOST A PHOTO
A PERSON SHOULD BE DRAWN 7-8 HEADS TALL
WHEN DRAWING THE FACE, THE EYES ARE TO BE DRAWN IN THE MIDDLE OF THE HEAD
THE NOSE, HALF WAY DOWN FROM THE EYES TO THE CHIN
THE BOTTOM OF THE MOUTH, HALFWAY FROM THE NOSE TO THE CHIN
THE EARS, BETWEEN THE EYES AND THE BOTTOM OF THE NOSE EACH END OF THE MOUTH MEETS THE MIDDLE OF THE EYES
HAIR IS DRAWN ABOVE AND BELOW THE LINE OF THE HEAD
EYE BROWS ARE INDIVIDUALISTIC
EYES- COPY THE EXAMPLE
Artist’s Brain
THE ARTIST WANTS TO DEVELOP THE RIGHT SIDE OF THE BRAIN
YOU CANNOT TALK AND DRAW WELL
LOOK AT THE OUTSIDE OF AN OBJECT
LOOK AT OBJECT 75 % – PAPER 25 % CERAMICS
CERAMICS BEGAN AROUND 7000 YEARS AGO
SCIENTISTS BELIEVE CERAMICS WERE DISCOVERED BY ACCIDENT
LEATHERWARE – CLAY THAT IS WET BUT HAS DRIED TO BE A LITTLE STIFF
GREENWARE – CLAY THAT HAS TOTALLY DRIED
BISQUEWARE – CLAY THAT HAS BEEN FIRED ONCE
GLAZEWARE – CLAY THAT HAS BEEN FIRED, LAZED AND FIRED AGAIN
FIRST GLAZES WERE MADE FROM SAND
SCORING – ROUGHENING THE EDGES OF THE CLAY BEFORE JOINING THEM TOGETHER
SLIP – EXTREMELY WET CLAY THAT IS ADDING TO CLAY LIKE GLUE PRIOR TO JOINING THEM TOGETHER
SHARDS – BROKEN PIECES OF FIRED CLAY PINCH METHOD – PINCHING YOUR CLAY TO FORM YOUR POTTERY
COIL METHOD – ROLLING YOUR CLAY OUT INTO SNAKE FORM TO MAKE YOUR POTTERY
SLAB METHOD – ROLLING YOUR CLAY FLAT TO BUILD YOUR POTTERY
THROWING METHOD – BUILDING YOUR POTTERY ON A SPINNING WHEEL
KILN – THE OVEN USED TO BAKE THE CLAY
PRINTMAKING
PRINTMAKING IS THE USE OF A PLATE TO MAKE AN IMAGE
PRINTMAKING BEGAN AROUND 3000-4000 YEARS AGO
LITHOGRAPH IS THE USE OF A STONE TO MAKE AN IMAGE
LITHO-GRAPH IS GREEK FOR STONE-WRITING WOODCUTTING IS THE USE OF WOOD TO MAKE AN IMAGE
ETCHING IS THE USE OF METAL TO MAKE AN IMAGE
ETCHING WAS INVENTED DURING THE MIDDLE AGES
ALBRECT DURER WAS THE MOST FAMOUS PRINTMAKER DURING THE MIDDLE AGES
FOR THE FIRST TIME ART BECAME AVAILABLE TO THE PUBLIC
BRAYER – THE ROLLER USED TO SPREAD THE INK
INK PALLETTE – METAL SHEET USED TO SPREAD THE INK OUT ON
LINOLEUM CUTTER – USED TO CUT THE LINOLEUM
SERIES – A NUMBER OF PRINTS OF THE SAME PICTURE
PRINT – THE FINAL WORK IN A PRINTMAKING PROCESS PAINTING
PAINTING BEGAN AROUND 40,000 YEARS AGO
EARLY MAN USED BLOOD, PLANTS, BERRIES AND FAT TO MAKE HIS PAINTS
PAINTINGS MADE DURING THIS TIME WERE FOR RELIGIOUS REASONS
ARTISTICALLY SPEAKING, ROME FELL AROUND 453 CE. FRESCO PAINTINGS ARE MADE USING PAINT AND WET PLASTER.
THE WORD RENNAISSANCE MEANS REBIRTH
LEONARDO DA VINCI PAINTED THE “MONA LISA”.
MICHELANGELO PAINTED THE SISTINE CHAPEL
RAPHEAL PAINT “THE SCHOOL OF ATHENS”
FRANCISCO DA GOYA PAINTED “THE THIRD OF MAY, 1808”
A PAINTING DEPICTING AN EVERYDAY SCENE IS KNOWN AS A GENRE PAINTING PICASSO PAINTED “Ladies da Avignon” AND “GUERNICA”
ANDY WARHOL IS MOST FAMOUS FOR BEING A POP ARTIST
JACKSON POLLACK BEGAN ABSTRACT EXPRESSIONISM
TIME MAGIZINE PUT POLLACK ON THE COVER AND STATED “ART IS DEAD”