FORMAL PROPERTIES: ELEMENTS OF ART

COLOR HUE is the property of the color which gives it its name: red; red-orange; orange; yellow-orange; yellow; yellow-green; green; blue-green; blue; blue-violet; violet (purple); red-violet; brown; etc. The PRIMARY colors are red, yellow, and blue. When two primaries are mixed, they make SECONDARY colors. Red and yellow = orange; yellow and blue = green; blue and red = violet. TERTIARY colors are made by mixing a primary color with a secondary color. Red-orange; yellow green; yellow-orange; blue-green; blue-violet; red-violet. There are many colors between primaries and secondaries that can be made by mixing pigments. Mixing a hue (color) with white lightens its value to a TINT. Mixing a hue (color) with black darkens its value to a SHADE. COMPLEMENTARY colors are any two colors of the spectrum that combine to produce white (in the case of light) or gray (in the case of pigment). If a disk colored half yellow and half violet is rotated rapidly, it looks white or gray. Complementary colors are generally opposite each other on the color wheel. Violet (or blue) and yellow; red and green; blue and orange. A color can be DULLED in intensity by mixing some of its complement into it. Mixed complements NEUTRALIZE one another. Complementary colors placed next to one another stimulate the eye and create color illusions. Color has a psychological effect: some colors are associated with WARMTH (red, yellow, orange) and others appear COOL (blue, green, violet). Additionally, warm colors seem to come forward while cool colors seem to recede. When a work of art is made up of tints and shades of one color, it is called MONOCHROMATIC. Strokes of color placed close together appear, from a distance, to blend into the mixed color. Contrast in hue can be used for emphasis, when it is different in color, INTENSITY (vividness or level of saturation), or VALUE (lightness/darkness). Intensity= the density or purity of a color bright (full intensity or brilliance) medium dull (grayed) Value= the extent to which a color is dark or light light medium dark

Color can be used by an artist to express and communicate ideas and emotions. Shadows are areas of color lower in value and intensity than colors around them. Cool light casts warm shadows and warm light casts cool shadows. SHAPE Shape refers to spatial form. Shape may be two or three dimensional, i.e. a flat confined area or a form that has depth, length, width. Various types and characteristics of shape include: Organic- natural, living form Inorganic- human-made, non-living forms FORM

Open forms- broken, can be looked into or through Closed forms- solid, self-contained Geometric form circle pentagon sphere square octagon cube rectangle polygon pyramid triangle cylinder cone Free form- any non-geometric form, open Size length height long tall short short width area/volume wide large narrow small depth/breadth density thick dense thin sparse Mass light heavy SPACE Positive space- “figure(s)” which are seen as a positive element appearing to lie in front of a background. Negative space- “ground” or background which surrounds shapes. Movement- implied by a directional character because shapes have been extended in one direction more than another, i.e. repetition of shapes all pointing in the same direction.

LINE Line is defined as an identifiable path of a point moving in space. People, objects and things are perceived by noting certain qualities of line. Characteristics of line include: width length direction focus boundary thick long horizontal sharp edge thin short vertical fuzzy tapering continuous diagonal blurred uneven broken curving perpendicular oblique parallel radial VALUE Dark and light refers to the amount of light absorbed or reflected on a surface. Dark and light is perceived in terms of contrast. light medium dark Shadow is another term closely connected with dark and light. An object may absorb a considerable amount of light that strikes it while the area within or next to it absorbs a lesser quantity of light and appears as shadow. Shadow may also be described in terms of: light medium dark TEXTURE Texture is surface quality. visual (implied) texture- textures that can be seen but not felt through physical contact. tactile (actual) texture- textures that can be seen and felt through physical contact. Some typical textures include: Rough; smooth; wet; dry; hard; soft; shiny; dull (matte); slick (slippery); sticky (abrasive); Coarse; porous; etc.

FORMAL PROPERTIES: PRINCIPLES OF ART

Responding to ways in which objects or events are organized to achieve expressive powers by identifying their formal properties.

Unity- The distinguishable units or elements that seem to belong to each other so that each contributes something to the functioning of the whole.

Repetition- The reoccurrence of elements at regular intervals. Emphasis- or contrast, is a way of combining elements to stress the differences between those elements. Harmony- A way of combining similar elements in an artwork to accent their similarities. Variety- A way of combining elements in involved ways to create intricate and complicated relationships. It is achieved through diversity and change.

Balance- An equilibrium of opposing or contrasting elements that need each other and together they form a unity.

Symmetry- The balancing elements are alike and will appear to demand one another as a line that falls in one direction demands a line that falls in another direction.

Asymmetry- A balance achieved through the use of unequal parts or elements.

Movement and Rhythm- The principle of art used to create the look and feeling of action and to guide the viewer’s eye throughout the work of art. Gradation- A way of combining elements by using a series of gradual changes in those elements. Proportion- The principle of art concerned with the relationship of certain elements to the whole and each other.

PHYSICAL PROPERTIES

Responding to how an art form such as a painting or piece of sculpture was made—the artist’s skill and special use of an art medium or media and tools—by observing and speculating on the technical properties.

Talking with an artist about the work and technical skills used is an excellent way to learn about the relationship of the technical properties to the work of art. However, in most situations, this direct contact is not possible. Some insight into this dimension of the work can be gained through careful observation and some speculation. Reading about the artist will also help to bridge this gap and provide information to verify speculations.

Identifying art media used by artists is a beginning step in becoming more knowledgeable about this property. Some of the various media include:

chalk ink clay marble Conté crayon metal dye paint enamel pastels fabric pencil gesso stone wood glass

Techniques for processing art media are varied and depend upon the special properties of the media along with qualities and effects the artist wishes to achieve. For example, a range of possible techniques used in working with paint include:

• applying oil paint in thin glazes to build the form • using strokes of thick paint in rhythmic pattern • organizing shapes with fine brush strokes • using a dry brush to soften edges • drawing with paint • combining another art medium with paint

WORD DESCRIPTORS FOR VISUAL OPPOSITES

Point Size

small large long short solid outlined, empty thick thin precise diffuse, vague wide narrow virtual actual large small wide narrow vast minute minute vast expanding contracting angular circular changing unchanging connected separate similar different moving still regular irregular concave convex even uneven raised recessed reduced enlarged light heavy normal exaggerated simple complex uniform gradated mechanical natural enormous microscopic 2-dimensional 3-dimensional

Line Shape

straight curved straight curved regular jerky angular circular precise, sharp diffused, blurred simple complex continuous broken regular irregular imaginary real even uneven narrow wide normal distorted long short full partial ruled freehand defined vague mechanical natural precise suggested raised recessed, incised symmetrical asymmetrical thick thin geometric tetra connected disconnected crystalline cellular paralleling oblique closed open even tapering positive negative smooth rough single combined positive negative complete fragmented direct random actual imaginary controlled meandering attached separate

Density Number closed spread out single double, triple thick thin part whole compact loose few many massed separated one group concentrated diluted simple compound cluttered spacious added subtracted localized scattered multiplied divided bundled separated equal unequal compressed expanded odd even uniform gradated primary secondary

Plane Volume rectilinear curvilinear solid open straight curved angular curved wide narrow opaque transparent convex concave deep shallow flat warped wide narrow solid empty still moving edge surface dense sparse surface front, back, between mass void opaque transparent positive negative large small enclosed open textured smooth paralleling oblique adjacent interpenetrating

flat raised moving still clear cloudy sharp diffused

Rate of Movement Material slow fast textured smooth ponderous swift rough sleek speeding crawling flexible rigid smooth leaping delicate thick, heavy flowing jerking transparent opaque regular irregular absorbent repellent even uneven commercial found rhythmic random gaseous liquid active inactive natural synthetic starting stopping cold warm pulsing shaking wet dry still moving changing unchanging ordered chaotic Type of Action continuous discontinuous energetic languorous flutter agitate uniform changing shake pivot visible too fast to see creep jump evolving sudden dangle quiver merge cut

bounce roll Duration of Movement pulsate stir static dynamic short time long time wax wane continuous discontinuous lasting immediate perpetual fleeting prolonged stopped short accelerated reduced constant changing

Frequency of Movement often seldom regular irregular in a ratio random Interval (space) small large short long close distant equal graduated regular irregular ordered random connected disconnected near far away Sequence of Movement Change before after modifying transforming following preceding stable shifting first second gradual sudden present past unchanging altering consecutive simultaneous permanent fluctuating regular irregular in order unexpected Shape of Movement Size of Movement zigzagging winding large small restricted meandering sweeping rigid easy constrained long short simple complicated hovering extending straight curved