Lesson 2 (Part 1) - Systems of Visual Representation-Merged

CHAPTER 1: INTRODUCTION TO VISUAL ARTS
LESSON 2 (PART 1):

SYSTEMS OF VISUAL
REPRESENTATION
Presented by: Joan Elizabeth G. Ibay
Presentation
Outline
P O I N T S F O R D IS C U S SIO N
Introduction (Media, Elements, and

Principle of Arts)
Line
Shape
Contrast
GEE3 - Reading Visual Arts

Two- Three-
Dimensional Dimensional
Art Art
This includes only This includes the
the length and length, width, and
width of a flat object depth of an object
such as a drawing, such as a structure,
print, or painting. building, or
sculpture.
Two-Dimensional Art Three-Dimensional Art
Elements Principles
Color Balance
Form Contrast
Line Pattern
Mass Proportion
Motion and Time Rhythm
Shape Scale
Space Unity
Texture Variety
Value
Volume
ELEMENTS OF ART
LINES
LINES
E LE M E N T S O F A R T
Lines are the most fundamental element that

artists use.
The lines define the outline of the shape. It can be
used to connect to points.
Artists can use lines to define the boundaries
between planes in a two-dimensional work of art.
A line may direct our eyes to look at something Spider, c. 500 BCE– 500 CE.
Width 150'. Nazca, Peru
the artist particularly wants us to notice.
Line can convey a sense of movement and energy

TYPES OF LINE
Contour Line (Actual Line)
A contour is an edge or profile of an
object but is not necessarily the
complete outline of a shape.
Contour lines can suggest a volume in
space by giving us clues about the
changing character of a surface.
The contour line sets the boundary
between the figure and the
background, marking the edge of the
Woman Seated in an Armchair by figure’s overall shape
Henri Matisse (1869–1954)

TYPES OF LINE
Implied Line
Implied line is made up of a series
of marks.
An implied line is an illusion: it
gives us the impression we are
seeing a line where there is no
continuous mark.
Implied line is used in a more
Sauerkids, The Devil Made Me Do It, 2006. freeform way.
Digital image, 161 ⁄2 × 81 ⁄4"

FUNCTION OF LINE
LIN E S D I R E C T T H E
V IE W E R ' S G A Z E
Besides demarcating boundaries,
indicating depth, and noting
surface changes, lines can also
communicate direction and
movement.
An artist can use lines to direct
our attention to something he or
she wants us to notice.

FUNCTION OF LINE
LIN E S C O M M U N I C A T E
ID E A S
Vertical lines tend to communicate
strength and energy.
Horizontal lines can suggest
calmness and passivity; diagonal
lines are associated with action,
motion, and change.
Vincent van Gogh, The Bedroom,
Diagonal lines communicate 1889. Oil on canvas, 283 ⁄4 × 361 ⁄4".
Art Institute of Chicago, Illinois
movement, action, and drama.

FEELINGS LINES CONVEY
Lines can regulate and control
(Regular Lines)
Whether straight or curved, a line can be
regular and carefully measured.
Lines express control and planning and
impart a sense of cool-headed deliberation
and accuracy.
Such lines are effective for communicating
ideas that must be shared objectively by
groups of people, such as the plans an
architect provides to guide builders.

FEELINGS LINES CONVEY
Lines can express freedom and
passion (Irregular Lines)
Lines can also be irregular, reflecting the
wildness of nature, chaos, and accident.
Such lines— free and unrestrained—seem
passionate and full of feelings otherwise
hard to express.
Some artists decide to use irregular lines to
reflect their drawing and thinking process
or subconcious.

ELEMENTS OF ART
SHAPES
SHAPES
E LE M E N T S O F A R T
A shape is a two-dimensional area in

which the boundaries are defined by
lines or suggested by changes in
color or value.
In art, the shape is a basic, two-
dimensional element that can be Central Circular Shapes
used to define space

TYPES OF SHAPES
Geometric Shapes
Geometric shapes are composed of regular
lines and curves.
Traditionally defined, a geometric shape is
mathematically regular and precise.
The simple shapes we know—circle, square,
triangle—are all examples of geometric
shapes.
These can be created by plotting a series of
points and connecting them with lines, or
Woman Seated in an Armchair by simply enclosing a space using regulated and

Henri Matisse (1869–1954)
controlled lines.

TYPES OF
SHAPES
Organic Shapes
Organic shapes are made up of
unpredictable, irregular lines
that suggest the natural world.
Organic shapes may seem
Organic Shapes unrestrained and sometimes
chaotic, reflecting the never-
ending change characteristic of
living things.

IMPLIED SHAPES
An implied shape is an
illusion: it gives us the
impression we are
seeing a shape where
there is no continuous
mark.
PRINCIPLES OF ART
CONTRAST
CONTRAST
When an artist uses two noticeably
different states of an element, he
or she is applying the principle of
contrast.
Strong differences in the state of
an element can be a very useful
effect for an artist: it is especially
effective to use opposites.
POSITIVE SHAPES &
NEGATIVE SHAPES
When we speak of positive and
negative in visual form, they are
most often represented by black
and white.
Although black and white are
common examples of positive
and negative, any color
combination can work the same
way.
Carrie Mae Weems, “Untitled
(Woman and Daughter with
Makeup),” 1990, from Kitchen
Table series, 1989–90. Inkjet
print, 411 ⁄4 × 411 ⁄4 × 21 ⁄4"
(framed)
QUESTION?
References
·Artland Editors. (n.d.). The most famous art movements and styles. Retrieved from
https://magazine.artland.com/art-movements-and-styles/
·Grundler, M. & Grundler, L. (2017). The principles of design in visual arts. Institute of Arts Integration and
Steam. Retrieved from https://artsintegration.com/2017/09/01/principles-design-visual-arts/
·LeMieux, J. (et.al.). (n.d.). Chapter 2: The structure of art: form and design. Retrieved from
https://alg.manifoldapp.org/read/introduction-to-art-design-context-and-meaning/section/0af11327-5ea5-
4cd5-a44d-7901ce9738a0
·Marder, L. (2020). The definition of ‘form’ in art. Retrieved from https://www.thoughtco.com/definition-of-
form-in-art-182437
·Marder, L. (2019). The principles of art and design. Retrieved from https://www.thoughtco.com/principles-
of-art-and-design-2578740
·McArdle, T. (2018). Explore art style. Retrieved from https://www.art-is-fun.com/art-styles
·Mediums and techniques of visual arts. (n.d.). Retrieved from
https://www.slideshare.net/Amoguis/mediums-and-techniques-of-visual-arts
·Scott, D. (2018). Visual element – building blocks of your painting. Draw Paint Academy. Retrieved from
https://drawpaintacademy.com/visual-elements/
·Visual art: Definition, Meaning, History, Classification. Retrieved from http://www.visual-arts-
cork.com/definitions/visual-art.htm
LESSON 2 (PART 2):

SYSTEMS OF VISUAL
REPRESENTATION
Presentation
Outline
Form
Mass
Volume
Texture

Elements Principles
Color Balance
Form Contrast
Line Pattern
Mass Proportion
Shape Scale
Space Unity
Texture Variety
Value
Volume
ELEMENTS OF ART
FORM
FORMS
A form occupies three-dimensional
space and exists in a real and solid way.
Forms are tactile.
Some forms are so tiny they cannot be
seen with the naked eye, while others
are as large as a galaxy.
When artists and designers create
forms, they consider how we will
experience them in three dimensions.

Volume Mass
Volume is the Mass describes
amount of the concept
actual space a that volume is
form occupies. solid and
occupies space,
whether it is
enormous, such
as a pyramid, or
relatively small,
such as a piece
of jewelry.
TYPES OF FORM
Geometric Forms
Geometric forms are regular and are
readily expressible in words or
mathematics.
Great Sphinx of
Giza (below), c.
2500 BCE, and
Organic Form
Pyramid of Khafre,
c. 2500 BCE, Giza,
Egypt
The form of most things in the natural

world is organic: it is irregular and
unpredictable.
Artists accentuate the irregular character
of organic form for expressive effect.
FORM IN RELIEF
A relief is a work in which forms a project from a Imperial
Procession from
flat surface. the Ara Pacis
Augustae, 13 BCE.
Marble altar, Museo
It is designed to be viewed from one side only. dell’Ara Pacis,
Rome, Italy
Forms in relief combine aspects of two-
dimensional and three-dimensional works of art.
FORM IN ROUND Naked Aphrodite

Crouching at Her
Bath (Lely’s Venus).
A form in the round can be seen from all sides. Marble, Roman,
2nd century CE;
copy of lost Greek
A form in the round occupies space in the original of the late
3rd/2nd century
BCE
same way that other real-life objects do.

ELEMENTS OF ART
VOLUME
VOLUME
Volume is the amount of space
occupied by an object.
Solid objects have volume; so do
objects that enclose an empty space.
OPEN VOLUME
When artists enclose a space with
materials that are not completely
solid, they create an open volume.
Open volume can make work feel
light.

ELEMENTS OF ART
MASS
MASS
Mass suggests that a volume is solid
and occupies space.
Every substance has mass.
Our perception of mass influences
how we react to and what we feel
about that substance.
Mass can suggest weight in a three-
dimensional object.
Mass does not necessarily imply
heaviness, only that a volume is solid
and occupies space

Constantin Brancusi, The Kiss, 1916. Limestone, Auguste Rodin, The Kiss, c. 1882. Marble, 711 ⁄2 ×
23 × 131 ⁄4 × 10". Philadelphia Museum of Art 441 ⁄4 × 46". Musée Rodin, Paris
ELEMENTS OF ART
TEXTURE
TEXTURE
Any three-dimensional object
that can be touched and felt has
actual texture.
Textures vary.
We mostly rely on the
impressions we receive from our
hands when we think of texture,
and these tactile experiences
influence the way we look at art.
Audora Art Gallery | 2020

QUESTION?
References
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form-in-art-182437
LESSON 2 (PART 3):

SYSTEMS OF VISUAL
REPRESENTATION
Presentation
Outline
Value
Space
Motion
Time

Elements Principles
Color Balance
Form Contrast
Line Pattern
Mass Proportion
Shape Scale
Space Unity
Texture Variety
Value
Volume
ELEMENTS OF ART
VALUE
VALUE
Value is the lightness or darkness of a surface.
It emulates the effects of light and shadow and
can be used to suggest solidity.
Artists use dark and light values as tools for
creating depth.
Artists learn to mimic the appearance of things
by observing the effects of light as it
illuminates a surface.
Value changes often occur gradually.
A value range refers to a series of different
values.

Chiaroscuro
Chiaroscuro (Italian for “light-dark”) is a
method of applying value to a two-dimensional
piece of artwork to create the illusion of a
three-dimensional solid form.
The illusion of solidity and depth in two
dimensions can be achieved by using an
approach devised by artists of the Italian
Renaissance.
Using a sphere as their model, Renaissance
artists identified five distinct areas of light and
shadow.

There is an area of highlight on the knee
transitioning to the lighted thigh.
Under the knee and thigh, there is a strong
core shadow: reflected light can be seen on
the calf and the underside of the thigh.
This light is accentuated by the dark cast
shadow behind the calf.
Prud’hon’s use of black and white chalk on a
light blue paper allows him to accentuate the
lightest and darkest areas, the chiaroscuro.
Chiaroscuro graphic applied to Pierre-Paul Prud’hon, La

Source, c. 1800–10. Black and white chalk, stumped, on light
blue paper, 211 ⁄8 × 153 ⁄8". Sterling and Francine Clark Art
Institute, Williamstown, Massachusetts
HATCHING AND
CROSS-HATCHING
Hatching consists of a series of lines,
close to and parallel to each other.
Cross-hatching is a variant of hatching
in which lines overlap to suggest values
that create a greater sense of form and
depth.

Cross-hatching gives the
face of the satyr solidity and
depth.
By building up layers of
brown ink, Michelangelo
overcomes the restrictions
created by the thin line of
the pen.
Michelangelo, Head of a Satyr, c. 1520–

30. Pen and ink on paper, 105 ⁄8 × 77 ⁄8".
Musée du Louvre, Paris, France
ELEMENTS OF ART
SPACE
SPACE
In terms of art, space is the area around, above, and
within an object.
With consideration to drawings and paintings, our goal
is to create the illusion of space.
There are five main ways an artist can create the
illusion of space on a 2-Dimensional surface:
Size
Overlapping
Positioning/Placement
Alternating Value, Texture, and Color
Perspective
SIZE, OVERLAPPING,
AND POSITION
In a work of art, the size of one shape
compared to another often suggests
that the larger object is closer to us.
Another way to create the illusion of

depth is to overlap shapes. If one shape
appears to overlap another, the shape
in front seems closer than the shape
that is partially covered.
Position in the picture plane is also an

effective device for implying depth. A
shape lower in the picture plane
appears to be closer.
ALTERNATING VALUE,
TEXTURE AND COLOR
Objects that are further away are cooler in
color temperature, while objects that are
closer are warmer.
Objects that are further away are lighter in

value, while objects that are closer are
typically darker in value.
The texture appears to be extremely rough

and detailed in closer views, while far
objects have less details and texture.
PERSPECTIVES
Atmospheric Perspective
This modifies value, color, and texture to
create the sense that some parts of an image
are situated further away than others.
Isometric Perspective
This uses diagonal parallels to communicate depth.
The word isometric derives from the Greek
meaning “equal measure.”
Linear Perspective
This relies on a system where lines appear to
converge at points in space.
ELEMENTS OF ART
MOTION
AND TIME
IMPLIED MOTION
When artists imply motion, they give us
clues that a static work of art portrays a
scene in which motion is occurring or has
just occurred.
In the case of implied motion, we do not

actually see the motion happening, but
visual clues tell us that it is a key aspect of
the work.
TIME
Time is the fourth measurable
dimension of a work of art after
width, height, and depth.
Time-based arts, such as film,

embody six basic attributes of time:
duration, tempo, intensity, scope,
setting, and chronology.
TIME
Duration - Length
Tempo - Speed
Intensity - Level of Energy
Scope - Range of Action
Setting - Context
Chronology - Order of Events
QUESTION?
References
4cd5-a44d-7901ce9738a0
form-in-art-182437
LESSON 2 (PART 4):

SYSTEMS OF VISUAL
REPRESENTATION
Presentation
Outline
Color
Science of Color
Color Wheel
Dynamics of Color
Characteristics of Color
Psychology of Color

Elements Principles
Color Balance
Form Contrast
Line Pattern
Mass Proportion
Shape Scale
Space Unity
Texture Variety
Value
Volume
ELEMENTS OF ART
COLORS
COLOR
Color is the most vivid element
of art and design.
Color attracts our attention and
excites our emotions.
Our perceptions of color are
personal and subjective.
Color is an area of study in
science and psychology.

Science tells us that we cannot perceive color without light.
Light consists of energy that travels in waves, much as water forms waves.
If white or normal light passes through a prism we see that it is composed of
constituent colors of light, which have different wavelengths. Therefore, the
colors of light make up the spectrum of potentially visible colors.

COLOR PIGMENT
Pigments are finely ground
colorants that are insoluble.
A pigment changes the color
of reflected or transmitted
light through wavelength-
selective absorption.
Pigments can be natural or
synthetic products.

COLOR WHEEL
A color wheel displays
important information about
hue relationships.
A color wheel acts as a kind
of color “map” that allows us
to assess the attributes of
hues as they relate to each
other.
The hues of this color wheel
are the building blocks of
most color combinations.
Primary Colors
Red, Yellow, Blue
They are called the artists' color.
Secondary Colors
The secondary colors can be
produced by mixing two primary
colors.
Orange (red and yellow)
Green (a blend of yellow and blue),
Violet (a blend of red and blue).
Tertiary Colors
The remaining hues in the wheel are
called tertiary colors and can be
created by blending a primary and a
secondary color.
Vasily Kandinsky, Yellow-Red-
Blue, 1925. Oil on canvas, 503 ⁄8
× 791 ⁄4". Musée National d’Art
Moderne, Centre Georges
Pompidou, Paris, France
DYNAMICS OF COLOR
Complementary Color
Complementary colors can be found on opposite sides
of a color wheel.
When complementary colors are mixed, they produce
gray (or black); they tend to dull one another.
But when two complementary colors are painted side
by side, these “opposite” colors create visual
anomalies: they intensify one another.
When the eye tries to compensate for the different
wavelengths of two complementary colors, we tend to
see each color more intensely than when we see them
separately
Frederic Edwin Church, Twilight in the
Wilderness, 1860. Oil on canvas, 40 × 64".
Cleveland Museum of Art, Ohio
DYNAMICS OF COLOR
Analogous Color
Analogous colors fall adjacent to each other on

a color wheel and are similar in wavelength, so
they do not create optical illusions or visual
vibrations the way complementary colors do.
Painters use analogous color to create color
unity and harmonies that steer viewers toward a
particular attitude or emotion.
By keeping the color within a similar range,
artists avoid jarring, contrasting combinations
of colors and moods.
1.4.14 Mary Cassatt, The Boating
Party, 1893–94. Oil on canvas,
353 ⁄8 × 461 ⁄8". National Gallery
of Art, Washington, D.C.
COLOR SYMBOLISM
Color can affect how we think and feel.
Studies by Faber Birren (1900–1988), a color psychologist, indicate that
when people are constantly exposed to red light they can often become
loud, grow argumentative, and eat voraciously: it appears that red can
influence aggression in our behavior
Colors also have traditional symbolic values

As we have seen, green, traditionally, has positive associations for Muslims;
Buddha wore yellow or gold; Jews and Christians associate the color blue
with God (the Virgin Mary is most frequently depicted wearing blue). Our
cultural beliefs about color also affect the way we think and feel.
PSYCHOLOGY OF COLOR
Color affects us because it can alter the way
we feel and react.
Artists understand that color affects the way

we think and react to the world.
Color, in particular, can express a wide range

of emotions.
Color has always been used expressively by

artists and designers, sometimes to change
the way that a viewer feels about his or her
surroundings.
QUESTION?
References
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form-in-art-182437
LESSON 2 (PART 5):

SYSTEMS OF VISUAL
REPRESENTATION
Presentation
Outline
Unity
Variety
Balance

Elements Principles
Color Balance
Form Contrast
Line Pattern
Mass Proportion
Shape Scale
Space Unity
Texture Variety
Value
Volume
PRINCIPLES OF ART
UNITY
UNITY
Unity refers to the imposition
of order and harmony on a
design.
Unity refers to the “oneness”
or organization of similarities
between elements that make
up a work of art.
Artists use the principle of
unity to make choices that
link visual elements to each
other in a composition.

THREE KINDS OF UNITY
Compositional Unity Conceptual Unity Gestalt Unity

Compositional Unity
An artist creates compositional
unity by organizing all the visual
aspects of work or matching
visual similarities.
The artist's goal in using

compositional unity is to create a
composition that appears
harmonious without being boring.
Compositional unity can also be

created by using connected ideas.
Conceptual Unity
Conceptual unity refers to the
cohesive expression of ideas
within a work of art.
Ideas can come to us in

haphazard and unpredictable
ways.
In using conceptual unity, artists'

intentions, experiences, and
reactions are very important to
their work.
Gestalt Unity
Gestalt, a German word for form
or shape, refers to something
(here a work of art) in which the
whole seems greater than the
sum of its parts.
The composition and ideas that

go to make a work of art—as well
as our experience of it— combine
to create a gestalt.
PRINCIPLES OF ART
VARIETY
Variety
. In art, variety is a collection of ideas, elements,
or materials that are fused together into one
design.
Artists use a multiplicity of values, textures,
colors, and so on to intensify the impact of a
work.
It is expressed in contrast and difference, which
creates visual interest and excitement.
Robert Rauschenberg,
Monogram, 1955–59. Mixed
media with taxidermy goat,
rubber tire, and tennis ball, 42
× 631 ⁄4 × 641 ⁄2". Moderna
Museet, Stockholm, Sweden
PRINCIPLES OF ART
BALANCE
Balance
Balance refers to the distribution of
elements, whether unified or varied, within
a work.
In art, the visual elements in one-half of

the work are offset by the elements on the
opposite side.
It is possible for an artist to depict an

unbalanced design.
Balance
HOW CAN WE DEPICT BALANCE?
By noting the differences between the
two halves we are looking at.
If there are reasonable visual
counterweights the work seems
complete, and balance has been
achieved.
However, for many artists this process is
intuitive; they make decisions about the
work based on what looks right, rather
than on a rigid set of rules.
SYMMETRICAL ASYMMETRICAL R A D IA L B A L A N C E
B A LA N C E BALANCE Radial balance (or symmetry)
If a work can be cut in half This is also called dynamic is achieved when all elements
and each side looks exactly balance; it applies when the in a work are equidistant
(or nearly exactly) the same, elements on the left and right from a central point and
then it is symmetrically sides are not the same, but repeat in a symmetrical way
balanced. the combination of elements from side to side and top to
counter one another. bottom.
QUESTION?
References
4cd5-a44d-7901ce9738a0
form-in-art-182437
LESSON 2 (PART 6):

SYSTEMS OF VISUAL
REPRESENTATION
Presentation
Outline
Pattern
Proportion
Rhythm
Scale

Elements Principles
Color Balance
Form Contrast
Line Pattern
Mass Proportion
Shape Scale
Space Unity
Texture Variety
Value
Volume
PRINCIPLES OF ART
SCALE
SCALE
The scale of a work of art communicates
ideas.
Small-scale pieces force viewers to come
in close to experience the artwork.
Large-scale works can be experienced by
groups of viewers, and usually
communicate big ideas directed at a large
audience.
Artists may also consider scale as they
make more practical choices about a work.
H IE R A R C H I C A L S C A L E D I S T O R R T E D S C A LE
Hierarchical scale refers to the An artist may deliberately
deliberate use of relative size in a distort scale to create a
work in order to communicate supernatural effect.
differences in importance.
PRINCIPLES OF ART
PROPORTION
Proportion
The relationships between the sizes of
different parts of a work make up its
proportions.
By controlling these size relationships an artist
can enhance the expressive and descriptive
characteristics of the work.
For a two-dimensional work, the artist chooses
an area, or format, on which to make a
drawing, painting, print, or design.
PRINCIPLES OF ART
PATTERN
Pattern
In art, we can see patterns as the
recurrence of an art element.
In a work of art, the repetition of such
patterns provides a sense of unity.
An artist can use the repetition of a
pattern to impose order on a work.
Sometimes artists use alternating
patterns to make work more lively.
The area covered by the pattern is
called the field; changes in the field
can invigorate visual forms.
Motif
A design repeated as a unit in a
pattern is called a motif.
Motifs can represent ideas,
images, and themes that can be
brought together through the
use of patterns.
A single motif can be interlaced
with others to create complex
designs.
PRINCIPLES OF ART
RHYTHM
Rhythm
Rhythm arises through the repetition of
patterns.
Rhythm affects our vision as we study a
work of art.
The artist can also use rhythm to add a
variety.
There is rhythm when there are at least
two points of reference in an artwork.
THREE TYPES OF RYTHM
Simple Repititive Rhythmic Design Structure Alternating Rhythm

Artists create repetition by The idea of rhythmic structure helps Artists can intertwine
using the same shape, us understand how artists divide multiple rhythms until they
color, size, value, line, or visual space into different kinds of become quite complex.
texture over and over again. sections to achieve different kinds of
effects.
QUESTION?
References
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form-in-art-182437

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CHAPTER 1: INTRODUCTION TO VISUAL ARTS

LESSON 2 (PART 1):

Introduction (Media, Elements, and

GEE3 - Reading Visual Arts

Lines are the most fundamental element that

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

A shape is a two-dimensional area in

used to define space

GEE3 - Reading Visual Arts

Woman Seated in an Armchair by simply enclosing a space using regulated and

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

LESSON 2 (PART 2):

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

The form of most things in the natural

FORM IN ROUND Naked Aphrodite

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

Audora Art Gallery | 2020

LESSON 2 (PART 3):

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

Chiaroscuro graphic applied to Pierre-Paul Prud’hon, La

GEE3 - Reading Visual Arts

Michelangelo, Head of a Satyr, c. 1520–

Another way to create the illusion of

Position in the picture plane is also an

Objects that are further away are lighter in

The texture appears to be extremely rough

In the case of implied motion, we do not

Time-based arts, such as film,

LESSON 2 (PART 4):

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

Analogous colors fall adjacent to each other on

Colors also have traditional symbolic values

Artists understand that color affects the way

Color, in particular, can express a wide range

Color has always been used expressively by

LESSON 2 (PART 5):

GEE3 - Reading Visual Arts

GEE3 - Reading Visual Arts

Compositional Unity Conceptual Unity Gestalt Unity

GEE3 - Reading Visual Arts

The artist's goal in using

Compositional unity can also be

Ideas can come to us in

In using conceptual unity, artists'

The composition and ideas that

In art, the visual elements in one-half of

It is possible for an artist to depict an