Elements of Art & Principles of Design Movie
Sintesi
TLDRCette vidéo éducationnelle traite des éléments et principes de design essentiel à toute création artistique. Les éléments de l'art — ligne, forme, couleur, texture, valeur, et espace — sont présentés comme les matériaux de base dont disposent les artistes pour exprimer leur vision. Chaque élément est exploré individuellement, illustrant comment les artistes de diverses disciplines utilisent ces éléments pour apporter structure et détail à leurs œuvres. De plus, des projets sont démontrés pour aider à comprendre comment manipuler ces éléments dans votre propre travail artistique. Les principes de design, qui incluent l'équilibre, le mouvement, le rythme, le contraste, l'accentuation, le motif et l'unité, sont ensuite explorés. Ces principes servent à organiser les éléments de l'art de manière harmonieuse et efficace, permettant ainsi une meilleure composition globale. Les exemples incluent des œuvres célèbres et des techniques telles que la perspective linéaire et atmosphérique pour créer une illusion de profondeur. Pourquoi se contenter de créations ordinaires ? En maîtrisant ces éléments et principes, les artistes peuvent non seulement mieux exprimer leur créativité, mais aussi toucher leur public de manière plus profonde et significative.
Punti di forza
- 🎨 Les éléments de design sont le vocabulaire visuel de l'artiste.
- 🖌️ La ligne peut être utilisée pour exprimer la simplicité ou la complexité.
- 🔺 Les formes peuvent être organiques (naturelles) ou géométriques (structurées).
- 🌈 La couleur provient de la lumière blanche et crée une ambiance dans l'art.
- 💎 La valeur indique l'échelle du clair au foncé dans une œuvre.
- 📏 L'espace est créé par la disposition et la perspective d'un objet.
- 🧶 La texture peut être réelle ou simulée dans l'art.
- ⚖️ L'équilibre symétrique et asymétrique affecte la composition visuelle.
- ➡️ Le mouvement guide l'œil du spectateur vers le point focal.
- 🌐 L'unité se crée lorsque tous les éléments de l'art se combinent harmonieusement.
Linea temporale
- 00:00:00 - 00:05:00
Les éléments du design, ou de l'art, sont le vocabulaire visuel de l'artiste, utilisés par tous les artistes tels que photographes, designers, peintres et sculpteurs. Il y a sept éléments: ligne, forme, couleur, valeur, texture et espace. La ligne peut être épaisse ou mince, organique ou mécanique, et utilisée de plusieurs manières dans l'art. Mark Tobey a utilisé des motifs de lignes pour créer une sensation d'unité dans ses peintures.
- 00:05:00 - 00:10:00
Lignes peuvent être créées avec différents outils, de manière droite ou courbe, et peuvent contribuer à la texture et à la valeur dans l'art. Mark Tobey illustre cela bien avec divers types de lignes dans ses œuvres. Les lignes peuvent être créées avec des outils variés, tels que des stylos, des crayons, des marqueurs, et même des bâtons, offrant une grande variété de formes et de textures.
- 00:10:00 - 00:15:00
Après avoir examiné l'utilisation des lignes, la discussion aborde deux types de formes principales : organique, vue dans la nature, et géométrique, vue dans des constructions humaines. L'arrangement de ces formes peut créer des œuvres d'art non objectives, comme vu dans l'exemple de Matisse, où une forme organique devient le point focal parmi des formes géométriques.
- 00:15:00 - 00:20:00
Le projet suivant implique de créer des formes organiques à partir de papier teint, et de les agencer pour créer des compositions artistiques. Les formes superposées créent de nouvelles formes le long des zones de chevauchement, démontrant ainsi le pouvoir de la forme comme élément de design, sans utiliser de lignes mais purement des formes superposées.
- 00:20:00 - 00:25:00
L'accent passe à la forme, avec une attention particulière sur sa nature tridimensionnelle, comme illustré par des sculptures. La forme diffère de la forme bidimensionnelle, alors que les projets transforment des dessins en formes tridimensionnelles en utilisant de l'argile pour créer des animaux ou d'autres objets.
- 00:25:00 - 00:30:00
La couleur est discutée comme un élément essentiel de l'art, dérivant de la lumière blanche décomposée en différentes teintes. Une peinture de Renoir sert d'exemple pour montrer comment les couleurs changent sous différentes lumières colorées. Le mélange des couleurs primaires, rouge, jaune et bleu, crée une variété infinie de nouvelles teintes.
- 00:30:00 - 00:35:00
À travers l'application de couleurs de manière neutre, en tenant compte du cercle chromatique, les artistes peuvent créer des œuvres aux couleurs plus douces. En utilisant des couleurs complémentaires, une couleur peut être neutralisée, ajoutant de la profondeur et diminuant l'intensité, ce qui est démontré à travers divers exemples de mélanges de couleurs.
- 00:35:00 - 00:40:00
L'étude de la valeur aide à comprendre le contraste entre clair et foncé dans l'art, essentiel pour créer de la profondeur et du contraste dans les œuvres d'art, comme illustré dans des exercices de peinture utilisant des nuances de gris. Des exemples d'artistes célèbres montrent comment ces valeurs influencent la composition globale de leurs œuvres.
- 00:40:00 - 00:45:00
La texture enrichit les œuvres en jouant sur les sens tactiles ; elle peut être réelle, comme dans la céramique, ou simulée, comme dans la photographie. Dans la peinture, la texture peut être ajoutée de manière substantielle avec de la peinture acrylique, ou simulée avec des aquarelles, offrant à l'artiste des outils variés pour enrichir leurs créations.
- 00:45:00 - 00:50:00
L'espace et la perspective sont utilisés pour donner de la profondeur et un sens du placement dans une œuvre. Cela peut être accompli par le chevauchement et les points de fuite, comme illustré dans des exemples de l'artiste Robert Henry. La perspective atmosphérique ajoute également de la dimension à une peinture en modifiant l'intensité des couleurs dans des couches successives.
- 00:50:00 - 00:58:24
Les principes de design organisent les éléments d'art de manière efficace, comprenant l'équilibre, le mouvement, le rythme, le contraste, l'accentuation, le motif et l'unité. Ces principes, souvent utilisés ensemble, aident à rendre l'art plus structuré et harmonieux. L'équilibre visuel est démontré à travers des exemples de symétrie et d'asymétrie dans l'art et la sculpture.
Mappa mentale
Domande frequenti
Quels sont les sept éléments de l'art ?
Les sept éléments de l'art sont la ligne, la forme, l'espace, la couleur, la texture, la valeur et le volume.
Comment les artistes utilisent-ils la texture ?
Les artistes utilisent la texture soit de manière réelle (texture palpable) soit de manière simulée (illusion de texture).
Comment comprendre la valeur dans l'art ?
La valeur fait référence aux contrastes de clarté et d'obscurité qui créent la profondeur et l'intérêt visuel dans une œuvre.
Qu'est-ce que la perspective atmosphérique ?
La perspective atmosphérique est une technique pour créer de la profondeur en utilisant des tonalités de couleur plus claires à l'arrière-plan.
Quels principes de design aident à organiser un tableau ?
Les principes sont l'équilibre, le mouvement, le rythme, le contraste, l'accentuation, le motif, et l'unité.
Comment le mouvement est-il utilisé dans une peinture ?
Le mouvement guide l'œil vers le point focal à travers des lignes ou des formes dirigées.
Qu'est-ce que l'équilibre asymétrique dans l'art ?
L'équilibre asymétrique est atteint lorsque des objets de tailles ou formes différentes équilibrent un design visuellement.
Comment les couleurs primaires peuvent-elles être utilisées ?
Les couleurs primaires (rouge, jaune, bleu) peuvent être mélangées pour créer toutes les autres couleurs.
Quelle est l'importance du contraste dans l'art ?
Le contraste apporte de l'excitation et de l'intérêt visuel en opposant des éléments comme la couleur, la texture et la lumière.
Qu'est-ce qu'un motif régulier dans le design ?
Un motif régulier répète les mêmes éléments à des intervalles constants, comme on le voit dans les motifs géométriques.
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- 00:00:20[Music]
- 00:00:44the elements of design or the elements
- 00:00:45of art as some people call them are
- 00:00:47really the visual vocabulary of the
- 00:00:49artist they're the things the artist has
- 00:00:51to work with all artists work with them
- 00:00:53photographers designers painters
- 00:00:55sculptors ceramists everybody some
- 00:00:58people call these the sensory properties
- 00:01:00because we can sense them with our eyes
- 00:01:02and our hands there are seven of these
- 00:01:05elements and they are
- 00:01:09line
- 00:01:11shape
- 00:01:15form
- 00:01:18color
- 00:01:20value
- 00:01:23texture and
- 00:01:26space we will learn what these are by
- 00:01:29working with several projects and how
- 00:01:31artists can use them in their work or
- 00:01:32how you can use them in your own
- 00:01:34[Music]
- 00:01:43work line is one of the basic elements
- 00:01:46of art and a line can be made with any
- 00:01:49kind of a
- 00:01:51tool can made thick or thin organic or
- 00:01:54plain these are contour lines being made
- 00:01:57of my own
- 00:01:58hand lines can be used singly as they're
- 00:02:02used here or as we have them in a
- 00:02:04Sketchbook lines that are just outlines
- 00:02:07really of the tree we can also Mass
- 00:02:10lines together as in another sketch
- 00:02:13where lines actually make value some
- 00:02:16artists Mark Toby for example in his
- 00:02:19painting has used all kinds of lines and
- 00:02:21done an overall pattern that gives us a
- 00:02:24feeling of unity over the whole surface
- 00:02:26all being done with line of different
- 00:02:28kinds
- 00:02:30lines can be made with any kind of tool
- 00:02:32you see a bunch of them here we can make
- 00:02:34lines with a pen see we can make
- 00:02:37straight lines or curved
- 00:02:39lines we can make lines with a
- 00:02:42pencil they're kind of it could be a
- 00:02:43little organic see I can make lines that
- 00:02:45are fatter lines that are
- 00:02:47thinner we can make lines with a marker
- 00:02:50colored markers or straight
- 00:02:54markers looks like a graph line we can
- 00:02:56make a line with pastel which is very
- 00:02:58soft and edges are very soft so they can
- 00:03:02be very
- 00:03:03erratic we can make lines with a with a
- 00:03:06brush you can dip a brush into ink make
- 00:03:09lines with a brush look fat thin it's
- 00:03:13very organic rather than mechanical we
- 00:03:16can even make lines with a stick we can
- 00:03:18take a stick and dip it in ink and make
- 00:03:21a line that is also very organic see it
- 00:03:23can go fat and thin we make very
- 00:03:25beautiful organic lines on a piece of
- 00:03:28paper
- 00:03:33we referred before to Mark Toby's
- 00:03:34painting that's all done with lines this
- 00:03:37is a little schematic diagram that shows
- 00:03:39kind of the lines that Mark Toby used
- 00:03:41some curled some fat some Thin some
- 00:03:43straight we're going to make a project
- 00:03:46now that will use those kind of lines
- 00:03:48and make sort of a mark Toby like
- 00:03:50painting we can start using temperate
- 00:03:52colors and just start to make lines on a
- 00:03:54piece of paper some
- 00:03:56straight some
- 00:03:58curved some thinner some
- 00:04:02fatter we keep on working with these
- 00:04:04pages and filling this whole page with
- 00:04:06these
- 00:04:09lines I can add a mat to this we're able
- 00:04:12to see almost a mark Toby like painting
- 00:04:14almost exactly the way his began to feel
- 00:04:18we can do this with a marker and we can
- 00:04:20make the lines all continuous or we can
- 00:04:22use fatter markers like this and we can
- 00:04:25make different kinds of of marks on
- 00:04:27there to fill that up those can be very
- 00:04:30attractive non-objective paintings made
- 00:04:32completely with different kinds of
- 00:04:37[Music]
- 00:04:42line I'm cutting out a shape this is
- 00:04:45actually an organic shape there are two
- 00:04:47two basic kind of shapes one is an
- 00:04:49organic shape which is kind of like we
- 00:04:51find in nature and one is a geometric
- 00:04:53shape which is usually found in things
- 00:04:55that people construct like buildings and
- 00:04:57things like that but these are here this
- 00:04:59is a this is a geometric shape this is
- 00:05:02an organic shape those are really the
- 00:05:03two basic kind of shapes that we have to
- 00:05:05work
- 00:05:08with just arranging a bunch of geometric
- 00:05:10shapes on a on a large geometric
- 00:05:13background actually one large rectangle
- 00:05:15inside of the white rectangle that is
- 00:05:17the
- 00:05:19paper and I'm just going to arrange
- 00:05:21those and sort of like matis did with
- 00:05:23his look at this work of
- 00:05:27matis these are geometric shapes on here
- 00:05:30and these are organic shapes he used a
- 00:05:32lot more organic shapes than geometric
- 00:05:33see the big geometric shape with an
- 00:05:35organic shape over the top of it so you
- 00:05:38cut out a lot of shapes if I take one
- 00:05:40organic piece and put it in with all
- 00:05:42these geometric pieces it becomes a
- 00:05:44focal area and everything will kind of
- 00:05:46uh will kind of focus on that so I can
- 00:05:49arrange these geometric pieces around
- 00:05:50the outside of that and just put a mat
- 00:05:52over the top of that and we've got a
- 00:05:55very nice little non-objective painting
- 00:05:58that's made up of all these abstract
- 00:06:00shapes that are all geometric except one
- 00:06:03organic shape which then becomes the
- 00:06:04focal
- 00:06:07area in order to start this next project
- 00:06:10with shape we're going to stain paper
- 00:06:11first of all if we just take pieces of
- 00:06:14of uh tissue paper put them on some flat
- 00:06:17surface of glass or or uh formic a
- 00:06:20surface and then just stain them with
- 00:06:22watercolor just use nice bright colors
- 00:06:25and uh and stain them you can here we're
- 00:06:27using red and orange together get them
- 00:06:29nice and full of color and then put them
- 00:06:32on a on a piece of paper towel to
- 00:06:36dry when these papers are dry we can
- 00:06:39begin to cut out of those nice colored
- 00:06:41tissue papers beautiful organic shapes
- 00:06:44we're going to make flowers here see
- 00:06:46we're going to make an arrangement of
- 00:06:47flowers we can to mount those in in and
- 00:06:49we'll glue them down on a piece of white
- 00:06:50paper so that the colors show through
- 00:06:52beautifully we might have to cut some
- 00:06:54more flowers to to put on here but
- 00:06:57you're making all these wonderful
- 00:06:59organic shapes now and uh and putting
- 00:07:02them together to make this
- 00:07:04composition we've mixed a little bit of
- 00:07:06white glue with water to thin it out
- 00:07:08just a little bit so it's not quite so
- 00:07:10thick and we're going to glue these
- 00:07:12pieces of of cut tissue paper down with
- 00:07:14that with this white glue now look I put
- 00:07:17this paper down or the glue down on the
- 00:07:19paper like this put the the uh piece of
- 00:07:23of tissue paper over the top then put a
- 00:07:25little bit of glue on like this to seal
- 00:07:26it down very bright colors show up but
- 00:07:30see where we where one shape overlaps
- 00:07:32another shape we make a third shape in
- 00:07:34between
- 00:07:36[Music]
- 00:07:50there you'll see how dramatic that will
- 00:07:52be if we put that on a on a piece of
- 00:07:54black
- 00:07:56paper this is a positive shape with a
- 00:07:59flowers this is a negative shape in the
- 00:08:01background back there if we put a mat
- 00:08:04around all of
- 00:08:06that we have a pretty effective a pretty
- 00:08:09effective piece of artwork all done with
- 00:08:11just shape there's no line anything all
- 00:08:13done with just shape overlapping shapes
- 00:08:16but full of shapes so shape is really
- 00:08:18another basic element that artists have
- 00:08:20to work
- 00:08:26[Music]
- 00:08:28with
- 00:08:31my hands are are
- 00:08:33really surrounding this form I'm working
- 00:08:36with the with form form is one of the
- 00:08:38elements that sculptures have to work
- 00:08:40with a lot so form is really
- 00:08:42three-dimensional I can feel organic
- 00:08:44forms like this which are formed in
- 00:08:48nature really this is an organic
- 00:08:50form I can feel forms in pods like this
- 00:08:53I can feel them with my fingers with my
- 00:08:56whole hands those are really organic
- 00:08:59forms I can have also geometric forms
- 00:09:02like a ball like this is really a
- 00:09:04geometric form it's perfect sphere so
- 00:09:08it's a three-dimensional
- 00:09:09form I could feel a can like this this
- 00:09:13is a cylinder this is a geometric
- 00:09:16form we don't want to talk about those
- 00:09:18as shape because shape is really
- 00:09:19two-dimensional form is
- 00:09:22three-dimensional for this project we're
- 00:09:24going to start by drawing first of all a
- 00:09:26two-dimensional animal this is kind of a
- 00:09:28like a bear sort of uh you can make any
- 00:09:31make animals up sort of a half animal
- 00:09:33and half some creature that you've never
- 00:09:36seen before but make some
- 00:09:37two-dimensional shape first of all we're
- 00:09:39going to take this shape then and make a
- 00:09:41form out of that by using clay here this
- 00:09:44is a this is nice red clay a ceramic
- 00:09:47clay and we can begin to form that
- 00:09:50artists who work with form use their
- 00:09:52hands a lot so they can feel the form of
- 00:09:55what it is they're working with now
- 00:09:56we're actually making this
- 00:09:58two-dimensional shape that we had we're
- 00:10:00making that into a three-dimensional
- 00:10:03form now this has got an organic form to
- 00:10:05it see it's an animall likee form and
- 00:10:08it's organic sort of like the rock or
- 00:10:10look at this sculpture here this was
- 00:10:12done and this has all been fired already
- 00:10:13this is an armadillo but see the form
- 00:10:16the way that changes every time I move
- 00:10:18that around you know it gets a different
- 00:10:20look to it the form of it is different
- 00:10:23but it's a nice rounded
- 00:10:24three-dimensional organic
- 00:10:27form and the Bear as long as the bear we
- 00:10:29keep working on the bear we can put we
- 00:10:32can you know put hair on the side of the
- 00:10:34bear we can make the legs long we put a
- 00:10:36little tail on the back in by pinching
- 00:10:38it a little bit and change and we can
- 00:10:40put that in the kill and fire that and
- 00:10:42we'll have a nice three-dimensional
- 00:10:44animal
- 00:10:46form clay isn't necessarily the only
- 00:10:49thing that we can use for
- 00:10:50three-dimensional work we can put wood
- 00:10:51things together we can make an animal
- 00:10:53out of chunks of wood we could use wire
- 00:10:56you can use papier-mâché and you can
- 00:10:57make a mask out of papier-mâché and use
- 00:11:00that as a three-dimensional
- 00:11:02[Music]
- 00:11:09form color is the element of art that
- 00:11:12most people are familiar with and color
- 00:11:14comes from White Light if we shine a
- 00:11:16white light through a prism of glass it
- 00:11:19will break down into six separate colors
- 00:11:22violet blue green yellow orange and red
- 00:11:26if we want to see those colors in their
- 00:11:28truest form we have to look at them
- 00:11:29under white light this is renois
- 00:11:32painting of fruit in a in a on a nice
- 00:11:34blue dish we see we have beautiful warm
- 00:11:36colors these red colors and the neutral
- 00:11:39background and the and the nice whites
- 00:11:40over here with some very nice darks in
- 00:11:42here and we we will watch these colors
- 00:11:45because these colors are going to change
- 00:11:46we'll show you how it looks under
- 00:11:47colored
- 00:11:49light this is under a red light now if
- 00:11:52with white light we can see all these
- 00:11:53things just the way Ren painted them but
- 00:11:55now look at the way these colors Chang
- 00:11:57look way the white looks the way the
- 00:11:58background look how it changed
- 00:11:59dramatically in the background and the
- 00:12:01red fruit themselves how they all change
- 00:12:03in a colored
- 00:12:04light now we'll change the color to a
- 00:12:06blue and there's blue light now look all
- 00:12:09the Reds get a little bit purpler and
- 00:12:11all the background the background all of
- 00:12:12a sudden because it's cool gets to be
- 00:12:14brighter when when the blue light is on
- 00:12:16it the white changes to a pale blue all
- 00:12:18the colors change because the color of
- 00:12:20the light changes when we want to look
- 00:12:22at a painting to see the true color of
- 00:12:24it we want to look at it under white
- 00:12:27light
- 00:12:30one of the interesting things we can do
- 00:12:32with color is to mix them but one thing
- 00:12:34you can do to find out of how Color
- 00:12:35Works a little bit watch I'm going to
- 00:12:37mix three primary colors the three most
- 00:12:39important colors together that's red
- 00:12:42yellow and blue so if we take a little
- 00:12:44bit of red or a little bit of red and a
- 00:12:46little bit of
- 00:12:48yellow and a little bit of blue we clean
- 00:12:50the brush each time that we that we do
- 00:12:52that a little bit of blue and then we
- 00:12:54begin to pull those colors together we
- 00:12:57pull a little bit of red in that and we
- 00:12:59begin to get a gray color by mixing
- 00:13:01those three colors together we should be
- 00:13:03able to make a nice neutral
- 00:13:07gray in order to mix colors we have to F
- 00:13:10we have to know what the the the main
- 00:13:12colors are that we can work with the
- 00:13:14three primary colors are red yellow and
- 00:13:16blue if we begin to make a a diagram of
- 00:13:20colors on a like a color wheel we have
- 00:13:22to start out with the three primary
- 00:13:23colors so on here I'm going to put the
- 00:13:25three primary colors down that's red
- 00:13:33and
- 00:13:36yellow now there's 12 spaces on this
- 00:13:39color wheel so we
- 00:13:41can arrange this any way that you uh
- 00:13:43that you want really red yellow and blue
- 00:13:45and we're taking them right out of the
- 00:13:47out of the watercolor
- 00:13:49tray now if we wanted to get the colors
- 00:13:52that are go in between those we'd have
- 00:13:54to mix these primary colors together in
- 00:13:56actuality all colors that we see almost
- 00:13:59can be mixed with these three primary
- 00:14:00colors those are the three primaries if
- 00:14:03we mix red and yellow together we'll get
- 00:14:06orange here's a little bit of red a
- 00:14:09little bit of
- 00:14:12yellow if we want to make intermediate
- 00:14:15colors there are three secondary colors
- 00:14:17also orange green and
- 00:14:21violet those are the six main colors if
- 00:14:24we fill those in if we want to mix the
- 00:14:25color in between here that's called an
- 00:14:27intermediate color by mixing yellow and
- 00:14:29orange together here we have a little
- 00:14:31bit of orange we mix a little bit more
- 00:14:33yellow with it and we'll get a yellow
- 00:14:35orange and we put that can put that in
- 00:14:37the color wheel
- 00:14:39here if we do that all the way around
- 00:14:41the color all the way around this uh the
- 00:14:43diagram we'll end up with what we call a
- 00:14:46color
- 00:14:48wheel when the color wheel is finished
- 00:14:50it makes a beautiful succession of
- 00:14:52colors all the way around the color
- 00:14:54wheel with primary secondary and
- 00:14:56intermediate colors the three primaries
- 00:14:58again are yellow red and blue when we're
- 00:15:01working with these colors now we're
- 00:15:03going to find that in order to gray a
- 00:15:04color we have to work with colors that
- 00:15:06are across from each other on the color
- 00:15:08wheel those are called complimentary
- 00:15:10colors the complimentary color of yellow
- 00:15:12orange is blue violet the complimentary
- 00:15:16color of orange is blue exact opposites
- 00:15:19on the color wheel so in order to
- 00:15:21understand about neutralizing color we
- 00:15:23have to understand how the color wheel
- 00:15:25is set up this project involves neutral
- 00:15:28ing colors to make them neutral to keep
- 00:15:31them from being so bright as Ren wad did
- 00:15:33in his painting if we have a red like
- 00:15:35this color and we put a little bit of
- 00:15:37green with it we can neutralize it and
- 00:15:39it will turn a little bit duller if we
- 00:15:42start with green and put a little bit of
- 00:15:43red with it it will become a little bit
- 00:15:45duller so by mixing a compliment we are
- 00:15:48dulling the colors if we mix two of them
- 00:15:50together we can get this nice gray like
- 00:15:52this if we start with orange and we're
- 00:15:55beginning to to uh to have the orange
- 00:15:57color over here and we're we're going to
- 00:15:58put a little bit of blue with it just a
- 00:16:00little not a whole lot just a little bit
- 00:16:02so we just neutralize it see what that
- 00:16:04does that makes that color not quite so
- 00:16:06bright anymore the Orange is not so
- 00:16:09intense and when we talk about colors
- 00:16:11being intense we're talking about their
- 00:16:13Pure Color when we dull them a little
- 00:16:15bit or neutralize them then they are not
- 00:16:17so longer
- 00:16:18intense see there's an there's an orange
- 00:16:21that's got a little bit of blue mixed
- 00:16:22with it if we start with the blue let's
- 00:16:24clean the the tray off over here if we
- 00:16:27start with the blue
- 00:16:30clean the brush out then mix a little
- 00:16:32bit of orange with it it will do the
- 00:16:34same thing see it changes that color so
- 00:16:37it's no longer such a bright blue see
- 00:16:40then that that blue we'll put a little
- 00:16:42bit more blue in with that that blue
- 00:16:44turns duller it's not quite so bright
- 00:16:47anymore and it's been neutralized so
- 00:16:50it's not any longer a bright blue color
- 00:16:53if we mix these colors all together the
- 00:16:56blue and the orange put a little bit
- 00:16:58more Orange in there with
- 00:17:00it little bit of blue then we can make a
- 00:17:03very neutral color right in the middle
- 00:17:06see that really is very neutralized it
- 00:17:09neither hardly looks hardly looks either
- 00:17:11blue or orange it looks very gray as a
- 00:17:14matter of fact which is just what the
- 00:17:16way it should look but what we've done
- 00:17:18now in this chart is to take intense
- 00:17:21colors on the outside mix a little bit
- 00:17:23of the complement with it and end up
- 00:17:25with a very neutralized color in the
- 00:17:27middle
- 00:17:31[Music]
- 00:17:36I'm looking at a black and white
- 00:17:37photograph of the Capitol building and
- 00:17:40and the reason we can read this
- 00:17:41photograph is because of value contrast
- 00:17:43value is the light and dark in any work
- 00:17:46of art this has a light value here a
- 00:17:49middle value here and a dark value here
- 00:17:52actually there's a value scale here that
- 00:17:55we can tell dark value light Valle value
- 00:17:59middle value and a photograph has all of
- 00:18:01these values in it value contrast
- 00:18:04between dark and light is why we can see
- 00:18:06that photograph in this project we're
- 00:18:08going to be working with a series of of
- 00:18:11gray values in order to understand what
- 00:18:13value how value really works in a in a
- 00:18:16painting so we start out with a with a
- 00:18:18little pot of white here on our uh on
- 00:18:22our tray and then put a little bit of
- 00:18:24black with it clean the brush put a
- 00:18:26little bit of black and it only has to
- 00:18:27be a very very small bit put maybe out
- 00:18:29to the side here and then go in and just
- 00:18:31mix a little bit with it in order to
- 00:18:33make a little gray very very light gray
- 00:18:36and then fill this fill this whole page
- 00:18:38with this painting of this light gray so
- 00:18:40be sure you mix enough color so you can
- 00:18:42really cover that whole piece once I
- 00:18:45have all these swatches made way from
- 00:18:47very dark to very light and then
- 00:18:49actually even using a piece of white
- 00:18:50paper for the whitest one we're going to
- 00:18:53cut some shapes out of these things in
- 00:18:54order to make a still life so we can
- 00:18:56first draw on here we can maybe make it
- 00:18:58an apple shape or the shape of some
- 00:19:00fruit or bowl or bottle or something and
- 00:19:03then cut the shape out of that we'll
- 00:19:05just cut that you know it's a whole
- 00:19:07series of of organic shapes so they
- 00:19:09could be oranges lemons pears bottles
- 00:19:13boxes whatever it is you want to put in
- 00:19:14the in the still
- 00:19:17life we have a bunch of shapes cut out
- 00:19:19and we can all even decorate those a
- 00:19:21little bit with other values once you
- 00:19:23have a whole bunch of these pieces
- 00:19:24arranged you can begin to put them
- 00:19:26together on a on a nice uh on a nice
- 00:19:29background we did with the background
- 00:19:30here is to leave a white on the bottom
- 00:19:32and black on the top those are the two
- 00:19:34opposite ends of the value scale then we
- 00:19:36begin to put objects on here see and
- 00:19:38place them on there notice the contrast
- 00:19:40between the dark and the
- 00:19:42[Music]
- 00:19:56light here's the most time TR see
- 00:19:58there's an apple shape put that next to
- 00:20:00the light that's going to be a focal
- 00:20:01area in there see where there's more
- 00:20:03contrast between the dark and the
- 00:20:07light we put a mat on that and look we
- 00:20:11put a value scale on that alongside of
- 00:20:13that and here we have all these values
- 00:20:15from the very darkest to the very
- 00:20:16lightest lots of contrast but the reason
- 00:20:19that we can see each one of those
- 00:20:20objects is because it is a different
- 00:20:23value once we have this gray black and
- 00:20:26white collage done we can make a
- 00:20:27painting from that just using this as a
- 00:20:29value sketch for the painting look at
- 00:20:32this little gray scale down here there's
- 00:20:33a gray scale from black to very light
- 00:20:35gray there's a color scale alongside it
- 00:20:37all the different values of orange from
- 00:20:40very light to very dark if you match the
- 00:20:42oranges and Grays on the painting with
- 00:20:45the oranges and Grays on the collage
- 00:20:47then you should get a painting that
- 00:20:48reads just as well as the collage reads
- 00:20:50just like we started to do here in the
- 00:20:52in the lower right hand corner look for
- 00:20:55a minute at at Paul Clay's painting here
- 00:20:57that he did all these different values
- 00:20:59of of uh very few colors very gray
- 00:21:02colors but all different values if you
- 00:21:04squint and look at them you could see
- 00:21:05light middle and dark valued squares
- 00:21:08look at the way the picture in black and
- 00:21:10white looks of the same painting and you
- 00:21:12see the light middle and dark
- 00:21:20[Music]
- 00:21:23values texture is the element of design
- 00:21:26that appeals to your tactile sense to
- 00:21:28your sense of touch I feeling this
- 00:21:31ceramic piece and I can feel all those
- 00:21:34textures textures can either be real
- 00:21:36like they are in the ceramic piece or
- 00:21:38they can be implied for example in this
- 00:21:41Photograph it looks like it's textured
- 00:21:44but you run your hand over the surface
- 00:21:45of that and it's actually no texture at
- 00:21:48all in this watercolor painting there is
- 00:21:50no texture at all but because of value
- 00:21:53contrast it appears to be textured so
- 00:21:55this is a simulated texture in this
- 00:21:57water
- 00:21:58color painters can use both real texture
- 00:22:02actual texture and simulated texture if
- 00:22:04we use paint That's thick enough this is
- 00:22:06acrylic paint here if I use it thick
- 00:22:08enough I can pick it up with a painting
- 00:22:09knife and I can slather it on the canvas
- 00:22:12or the piece of paper this way I can
- 00:22:14actually leave texture see I can leave
- 00:22:16Ridges of paint on there and I can
- 00:22:18either use a use a painting knife to do
- 00:22:20that or I can take a bristle brush and
- 00:22:23get the same kind of paint and I can
- 00:22:25slather that on also and then leave
- 00:22:27those Rich textures
- 00:22:28actual texture on the surface of the
- 00:22:30painting I can also take watercolor and
- 00:22:32make simulated texture and if I put it
- 00:22:35on the on the piece of paper and then
- 00:22:38take a piece of Kleenex and lift a
- 00:22:41little bit on that I can blot I can make
- 00:22:43it look like it's textured but in
- 00:22:45reality because that's watercolor
- 00:22:46there's no texture there at all I can
- 00:22:48also take a sponge just a little piece
- 00:22:51of sponge and take some of that same
- 00:22:52color and print I can make it look
- 00:22:55textur but you see that's simul ated
- 00:22:58texture because there is no raised part
- 00:23:01there that throws Shadow it just looks
- 00:23:03like it's textured so here we have
- 00:23:05actual Textures in paint and we have
- 00:23:07simulated Textures in
- 00:23:09paint when we want to work with textures
- 00:23:11now we remember we can work with both
- 00:23:13simulated and with with actual Textures
- 00:23:16in this project we're going to work with
- 00:23:17actual textures we have to go around and
- 00:23:19find them I just brought along some
- 00:23:20things to the studio here we have some
- 00:23:22bricks and wood and a piece of sculpture
- 00:23:24and we'll find that if we take a a piece
- 00:23:27of paper and put it on over this texture
- 00:23:29you've all done this you've done this
- 00:23:31before and take a piece of uh of crayon
- 00:23:34of wax crayon and rub over that we can
- 00:23:37find the textures that are in there even
- 00:23:39more than we can when we do it with our
- 00:23:41fingers rub our fingers over that so you
- 00:23:43can make wonderful rubbings of all kinds
- 00:23:45of
- 00:23:50[Music]
- 00:23:56textures
- 00:24:05[Music]
- 00:24:07you can make some shaped animal here
- 00:24:09like this we got this weird shaped bird
- 00:24:11you can take some animal that comes from
- 00:24:13another planet or something really out
- 00:24:14of your imagination make an outline on a
- 00:24:16piece of paper nice and big like this
- 00:24:18then we're going to make them textured
- 00:24:20with all of this stuff that we have here
- 00:24:22so we can draw some of these shapes on
- 00:24:24here or it'll just cut cut like this to
- 00:24:26to get uh
- 00:24:28to get shapes out of there and we can
- 00:24:29always trim them off after a while see
- 00:24:31we can cut the back of this bird can be
- 00:24:33there and you can actually change the
- 00:24:35shapes of that after a while but here we
- 00:24:37can put some wings on here like this
- 00:24:39just cut nice big shapes and we're going
- 00:24:41to use all these big shapes put them all
- 00:24:43together collage them
- 00:24:46[Music]
- 00:24:56together
- 00:25:00and the Finishing Touch we'll put the
- 00:25:01last one on here so we have one last
- 00:25:03shape there he's got some good textures
- 00:25:05lots of nice color and he looks kind of
- 00:25:08of alone like this if we take him put
- 00:25:09him on a piece of black cardboard like
- 00:25:11this we see wow does he stand out we
- 00:25:14have positive and negative shapes here
- 00:25:16and everything look we can even go leave
- 00:25:18part of them behind the with the black
- 00:25:21and part of them with the brown there
- 00:25:23then we put a mat around that and finish
- 00:25:26that up and here we've got a wonderful
- 00:25:28thing that has really taken textures
- 00:25:30from all around us put all these
- 00:25:32textures together with watercolor and uh
- 00:25:35these are really simulated textures
- 00:25:37because they're just imitating the
- 00:25:38textures that are actually there and
- 00:25:39made a handsome little bird out of those
- 00:25:47[Music]
- 00:25:51textures what I'm doing here these
- 00:25:53people see these people are all about
- 00:25:54the same size they're all lined up here
- 00:25:56and there's no space evident here no
- 00:25:59depth at all one in front of the other
- 00:26:02so if I put one of these in front of the
- 00:26:03other one then I begin to feel there's
- 00:26:05some space there this one is in front of
- 00:26:07that one and I can put this in front of
- 00:26:09that one and I can cluster these
- 00:26:11together a little bit and get a feeling
- 00:26:13of of space so that if I bring a bigger
- 00:26:16person down here and put that big person
- 00:26:18in front of some of these then that
- 00:26:20person feels a lot closer to me than the
- 00:26:22other ones do and if I even Elevate some
- 00:26:24of these so they go up a little bit
- 00:26:26farther and uh and the ones I want to
- 00:26:29make sure that the ones that are closest
- 00:26:30to me are down a little bit lower then I
- 00:26:32feel more space between this big figure
- 00:26:35and that one back those back there if I
- 00:26:37bring some smaller ones down in here and
- 00:26:40put those up here they feel still
- 00:26:42farther away if I overlap figures this
- 00:26:45way overlap anything squares circles
- 00:26:47fruit vegetables whatever it is they
- 00:26:50will they will indicate there's some
- 00:26:52space between the one that's nearest to
- 00:26:53you and the one that's farthest away the
- 00:26:55one that's nearest a little bit larger
- 00:26:57maybe a little bit warmer and also the
- 00:26:59bases of those will be closer to me if
- 00:27:01they're if they're nearer farther away
- 00:27:04the farther up the bases of those
- 00:27:06figures will
- 00:27:07be Robert Henry in his in his painting
- 00:27:10here of New York in the wintertime used
- 00:27:12another element there's some overlapping
- 00:27:14in here to show space also going back
- 00:27:16but he also used what we call linear
- 00:27:18perspective he has a lot of the edges of
- 00:27:20buildings like this to go to vanishing
- 00:27:22point down here right probably right by
- 00:27:23the Light almost and all these things
- 00:27:26line up see the edge of the top edge of
- 00:27:28the building there the buildings on this
- 00:27:30side the people down below the tops of
- 00:27:33the of the cart down here and all these
- 00:27:35things everything goes toward this
- 00:27:37Center in here which is really a
- 00:27:39vanishing point or an area of focus back
- 00:27:41in here artists use that to show depth
- 00:27:44in their
- 00:27:46painting a third type of of uh way to
- 00:27:49feel space is to what we call
- 00:27:50atmospheric perspective what I want to
- 00:27:52do is to try to show a a a range of
- 00:27:55mountains or a couple ranges of
- 00:27:57mountains here one coming behind the
- 00:27:59other one in front of the other one so
- 00:28:01what I'm doing is putting washes over
- 00:28:03this whole surface and it'll go all the
- 00:28:05way down to the bottom of the page then
- 00:28:06let it dry and then put another range of
- 00:28:09mountains in front of it a little bit
- 00:28:10darker maybe a little bit warmer put a
- 00:28:12little bit of purple with the color so
- 00:28:14it gets a little bit warmer and I'll do
- 00:28:16that until I get down to the very front
- 00:28:18of the painting and we'll see if we
- 00:28:19develop a sense of
- 00:28:22space each layer of color now has to get
- 00:28:24progressively brighter stronger and more
- 00:28:28intense and then we'll get that feeling
- 00:28:30of space going back so here this one
- 00:28:31it's very dark I've put a little bit of
- 00:28:33red with it to warm it up a little when
- 00:28:36I get that all done and that dry I can
- 00:28:39put a mat on that and you'll see how the
- 00:28:42sense of space develops with this being
- 00:28:44very close and progressively this being
- 00:28:47farther going farther and farther away
- 00:28:50so there are three ways to show
- 00:28:51perspective we can look at Robert
- 00:28:53Henry's uh painting again to see how he
- 00:28:56does that we can over overlap things
- 00:28:58like people can overlap people behind
- 00:29:00them buildings overlap buildings we have
- 00:29:02perspective lines that go to onepoint
- 00:29:04perspective and we have atmospheric
- 00:29:06perspective with these buildings being
- 00:29:08much much lighter these being much
- 00:29:10darker and warmer as they come forward
- 00:29:12if we put all three of those elements
- 00:29:14together overlapping linear perspective
- 00:29:17and aerial perspective we have a
- 00:29:18tremendous sense of depth and space that
- 00:29:21develops in a
- 00:29:24painting we've been working with a
- 00:29:26series of projects that have to do deal
- 00:29:27with the elements of design all the
- 00:29:29elements of design that we've talked
- 00:29:31about now are all the things that
- 00:29:32artists have to work with you can work
- 00:29:34with those you've seen projects that you
- 00:29:36can do with those but we hardly ever use
- 00:29:38them separately we usually use them in
- 00:29:40combination we find though that if we
- 00:29:42know what all of these elements are we
- 00:29:44can use them more effectively in our
- 00:29:49[Music]
- 00:29:56paintings
- 00:29:59[Music]
- 00:30:10the principles of design help us
- 00:30:12organize the elements of design in a
- 00:30:14more effective way some people call
- 00:30:17these the formal properties of art
- 00:30:19because they are used to organize those
- 00:30:22principles of design are
- 00:30:26balance
- 00:30:29movement
- 00:30:33Rhythm
- 00:30:36contrast
- 00:30:39emphasis
- 00:30:41pattern and
- 00:30:44unity these principles of design always
- 00:30:47work together and as we Define them and
- 00:30:49work with them we'll always be using one
- 00:30:51or the other of the principles to help
- 00:30:53us understand the one we're working on
- 00:30:55better they are hardly ever used alone
- 00:30:58always used in
- 00:31:03[Music]
- 00:31:05combinations what I'm trying to do here
- 00:31:08is to balance these two elements in this
- 00:31:11on this ruler I've got a heavy full can
- 00:31:14of Coke and a little jar of temper of
- 00:31:17paint I'm trying to find a way that I
- 00:31:20can balance these balance is a sense of
- 00:31:23being comfortable in a in this and it's
- 00:31:26also a sense of being comfortable in a
- 00:31:27work of art so in our works of art we
- 00:31:30have to have balance also we'll see
- 00:31:32several ways that we can establish
- 00:31:34balance in a work of
- 00:31:36art when two elements in a on a balance
- 00:31:40like this or in a painting also are on
- 00:31:42equal on both sides of the center we
- 00:31:44call that symmetrical
- 00:31:46balance if one of the elements seems
- 00:31:48much larger but is lighter and weight
- 00:31:51than the other one and they still seem
- 00:31:53to balance even though they are
- 00:31:55seemingly offc Center we call that a
- 00:31:57symmetrical
- 00:31:58balance in sculpture if we look at a at
- 00:32:01a sculpture the sculpture is balanced
- 00:32:04symmetrically right down the middle both
- 00:32:06elements on both sides are exactly the
- 00:32:08same I have another little owl here that
- 00:32:12is asymmetrically balanced if we put a
- 00:32:14line here about where the where there's
- 00:32:17equal amount of weight on one side or
- 00:32:19the other there's much more on one side
- 00:32:21but it seems balanced because of the
- 00:32:23activity all the activity in the head
- 00:32:25being on this side of the skull
- 00:32:28sculpture paintings also can either be
- 00:32:30symmetrical or asymmetrically balanced
- 00:32:33this painting by Freda Koo is
- 00:32:35symmetrically balanced with almost
- 00:32:37everything on one side being the same as
- 00:32:39that on the other we if we look at a
- 00:32:41winow homer painting wins Homer's
- 00:32:44painting has many more objects on one
- 00:32:46side than it does on the other it's not
- 00:32:48symmetrically balanced if we put a line
- 00:32:50down the middle there's more weight on
- 00:32:52one side than the other but the little
- 00:32:53bright spot over here seems to balance
- 00:32:55all of this weight on this side side not
- 00:32:58all paintings need to be balanced
- 00:33:00asymmetrically or symmetrically if we
- 00:33:02look at Mark Toby's painting with an all
- 00:33:04over pattern there's no need to balance
- 00:33:06because everything seems to be already
- 00:33:09in Balance if we want to make projects
- 00:33:12using symmetrical balance we can make a
- 00:33:14whole lot of charts like this with nice
- 00:33:16bright colors and cut out paper so
- 00:33:18they're exactly the same on one side as
- 00:33:20the other I can make them very fancy I
- 00:33:22can keep adding pieces to that I can
- 00:33:24keep building those up and making them
- 00:33:27keeping them in symmetrical balance this
- 00:33:29would not be in symmetrical balance so I
- 00:33:31could put that back in exactly the way
- 00:33:33it was in symmetrical balance I can put
- 00:33:36lines down the
- 00:33:37center so you can do all kinds of pieces
- 00:33:40of paper you can draw in there paint in
- 00:33:41there add postage stamps whatever you
- 00:33:44want to do but every keeping everything
- 00:33:45on the same on both sides of a Center
- 00:33:49Line asymmetrical balance and projects
- 00:33:51that work with asymmetrical balance
- 00:33:54means that we have to have larger spaces
- 00:33:56on one side maybe they're duller in
- 00:33:58color balanced by a smaller space
- 00:34:00farther away from the center from the
- 00:34:02fulcrum that gives a sense of balance of
- 00:34:05sense of being comfortable so when we
- 00:34:06want to play with those we have to say
- 00:34:08we work on projects that are going to
- 00:34:10going to uh to use those things we have
- 00:34:12to put colors on one side that are a
- 00:34:14little bit duller on the other side a
- 00:34:16little bit brighter to make them seem
- 00:34:18inbalance we can even move this over to
- 00:34:20the center a little bit to keep that
- 00:34:23that feels in Balance if this were very
- 00:34:25bright over here if we put something
- 00:34:26over here like this it would no longer
- 00:34:28be in Balance this would be stronger so
- 00:34:30we want to keep one side a little bit
- 00:34:32neutral make the other side a little bit
- 00:34:34brighter we can look at this nice bright
- 00:34:37red over here we can balance that we can
- 00:34:39move that out farther even if that's if
- 00:34:41that's so bright in order to make that
- 00:34:43uh keep that in Balance look for example
- 00:34:46at asymmetrical balance here's a
- 00:34:47photograph that is in visual balance
- 00:34:50even though it's asymmetrical we put a
- 00:34:52line down the center of that there's
- 00:34:54more activity on one side but it's
- 00:34:56duller more the same over here we have a
- 00:34:58lot of contrast between dark and light
- 00:35:00visually that feels
- 00:35:07comfortable movement in in as a
- 00:35:10principle of design is the way we have
- 00:35:12of organizing the painting by forming
- 00:35:15movement toward a focal area the focal
- 00:35:17area in this painting of Diego Rivera is
- 00:35:19the place where the slave is being freed
- 00:35:22with the knife notice all the shapes the
- 00:35:25dark shapes move toward this
- 00:35:28place the light shapes down here move
- 00:35:30toward this place so shapes move toward
- 00:35:34this place that's a a a a kind of
- 00:35:36movement that we have in the
- 00:35:38painting in sculpture also we have
- 00:35:41visual movement our eye moves like from
- 00:35:43the tail here across the back up to the
- 00:35:46focal area which happens to be the head
- 00:35:48and the with these floppy ears most of
- 00:35:50the time the focal arean animal would be
- 00:35:52the head and movement is very important
- 00:35:54in a sculpture we can feel it with our
- 00:35:55hands as that movement goes toward the
- 00:35:59focus movement goes along long shapes
- 00:36:02like this long such long shapes will
- 00:36:04help direct our eye towards some part of
- 00:36:06the painting we can make a little
- 00:36:08project by putting some of these shapes
- 00:36:09down this long shapes down this way and
- 00:36:12then putting a different kind of paper a
- 00:36:14different kind of shape where the focal
- 00:36:16area would be see we can bring these in
- 00:36:19close so that our eye moves along these
- 00:36:21lines toward that focal area we put a
- 00:36:24little mat over that we have a very nice
- 00:36:27design that will that will show movement
- 00:36:30toward a
- 00:36:31focus visual movement toward the
- 00:36:34focus we can use curved pieces which are
- 00:36:37much more interesting and much more fun
- 00:36:38to work with also to move toward a focal
- 00:36:40point so before you collage these down
- 00:36:42stick them down you could have them
- 00:36:44overlapping winding around but they're
- 00:36:47all curved pieces all leading toward a
- 00:36:50focal area that focal course is right in
- 00:36:52here notice how your eye just moves
- 00:36:53automatically on those long pieces if we
- 00:36:56put a different shape in there like a
- 00:36:57little rectangle that makes it I can put
- 00:37:00a little red dot in that rectangle even
- 00:37:02to make that definitely a focal area and
- 00:37:06see if I put a little a mat over that
- 00:37:09you can't help but be drawn in on that
- 00:37:11and that's what visual movement does in
- 00:37:12the painting it pulls the outside edges
- 00:37:15right into the focal
- 00:37:16point what I'm doing here is arranging a
- 00:37:19bunch of black pieces of paper on a
- 00:37:21white on a white background in order to
- 00:37:23produce movement I'm going to make a
- 00:37:25collage out of this but I want movement
- 00:37:27to go on white spaces into some like
- 00:37:30this is going to be the focal area that
- 00:37:32our I will move on this our I will move
- 00:37:34on this see those long pieces like in
- 00:37:36our last exercise those long pieces will
- 00:37:38help produce movement this is what we
- 00:37:40call Visual movement or passage from one
- 00:37:44part of the painting to the other a lot
- 00:37:46of paintings need to have that in order
- 00:37:47to hold them
- 00:37:49together in one of my watercolors we can
- 00:37:52analyze a little bit and see how
- 00:37:54movement Works in a painting this house
- 00:37:56is a focal area this is a painting done
- 00:37:58in Hawaii notice how the light moves
- 00:38:01from here from the lower leftand corner
- 00:38:02up to the focal area from the sky up on
- 00:38:05top down into the focal area from the
- 00:38:08upper leftand corner these neutral Grays
- 00:38:10move down into the focal area everything
- 00:38:13in the painting leads to the focal area
- 00:38:15big shape over here on the right side
- 00:38:18moves down into the focal area almost
- 00:38:19like those little strips that we cut
- 00:38:21only this is with actual subject matter
- 00:38:24so every painting like a landscape like
- 00:38:27this is more effective if there's a
- 00:38:29focal area and then movement on light
- 00:38:32value or dark value visual movement to
- 00:38:35that focal
- 00:38:38[Music]
- 00:38:42area what I'm trying to do here is to
- 00:38:44arrange these objects I have some
- 00:38:47figures and some pillars or or posts
- 00:38:50arrange them in some sort of a rhythmic
- 00:38:52pattern Rhythm is a principle of design
- 00:38:55that helps us to organized Space by
- 00:38:57having regular repetitions of of things
- 00:39:00happening we can have regular rhythm
- 00:39:03where these could be exactly equally
- 00:39:05spaced or we can have irregular Rhythm
- 00:39:08where we do something like this that
- 00:39:09these pieces would still be there in a
- 00:39:12rhythmic way but they would be irregular
- 00:39:15not quite so so evenly spaced when we
- 00:39:19look at paintings we can find that
- 00:39:20happening in the paintings you can look
- 00:39:22at Marcel duchamp's painting of of new
- 00:39:26descending a staircase and we see these
- 00:39:28rhythmic repetitions repetitions of the
- 00:39:31legs repetitions of the hips repetitions
- 00:39:34of the shoulders repetitions of the head
- 00:39:36this is an abstract painting but with
- 00:39:38the repetition and the Rhythm the
- 00:39:40painting holds together very very well
- 00:39:43we could look at one of Louise
- 00:39:44nevelson's sculptures a photograph of
- 00:39:46one of her sculptures look at the
- 00:39:48rhythmic pattern over here nice
- 00:39:50repetition helps to organize this part
- 00:39:53of her
- 00:39:54composition look at Robert renberg's
- 00:39:57painting the red spots in here produce a
- 00:39:59rhythm because those Reds keep popping
- 00:40:02out all the time but it's an irregular
- 00:40:04Rhythm they're all grouped together down
- 00:40:06here one by itself here little bits of
- 00:40:08red over here so the Rhythm in this
- 00:40:09painting is irregular so we can have
- 00:40:12regular and irregular Rhythm that
- 00:40:14artists use to help organize their
- 00:40:17paintings we can also work with a
- 00:40:19different group of shapes we're using a
- 00:40:21whole lot of elements here from other
- 00:40:23projects that we worked on but notice
- 00:40:24that how complex this can get down here
- 00:40:26we still have the rhythms established
- 00:40:28these are irregular rhythms usually
- 00:40:31irregular rhythms are more exciting than
- 00:40:33regular rhythms they might get a little
- 00:40:35bit monotonous but the pinks begin to
- 00:40:37repeat the people repeat the greens
- 00:40:39repeat the yellows repeat we have all
- 00:40:41these repetitious shapes in here we have
- 00:40:43a focal area right in here now in this
- 00:40:45design because of this shape that's
- 00:40:46different from all the others so we have
- 00:40:48movement and we have focus in here and
- 00:40:51we have a beautiful set of rhythms that
- 00:40:53are being
- 00:40:55established Architects are probably the
- 00:40:57kind of artists that make the most use
- 00:40:59of Rhythm in their work notice in the
- 00:41:02Parthenon which was designed by
- 00:41:04architect a long long time ago notice
- 00:41:06the way the Rhythm Is In The Columns and
- 00:41:09that helps unify the surface and helps
- 00:41:11hold it together look at the landscape
- 00:41:14over here we have a very irregular
- 00:41:16Rhythm notice way the trees create an
- 00:41:18irregular Rhythm usually when trees are
- 00:41:21just growing in in the Wilds they are
- 00:41:23not in a rhythmic regular rhythmic
- 00:41:25pattern but in irregular rhythmic
- 00:41:33pattern what I'm doing here is feeling
- 00:41:36the contrast between a smooth surface
- 00:41:38and a rough surface on this ceramic pot
- 00:41:42contrast is the principle of design that
- 00:41:45helps give us a little bit of excitement
- 00:41:47in our painting the opposite of contrast
- 00:41:50would be would be sameness and sameness
- 00:41:53leads to boredom so when we want works
- 00:41:55of art to be exciting we have to have
- 00:41:58some sort of
- 00:41:59contrast in a painting like Paul zon's
- 00:42:02still life the artist use a great many
- 00:42:05kinds of contrast for example to make it
- 00:42:08exciting he used contrast between plain
- 00:42:11areas with no pattern and areas that
- 00:42:14have lots of
- 00:42:15pattern he has contrast between edges
- 00:42:18that are hard and crisp and edges that
- 00:42:21are very soft and almost
- 00:42:23disappear he contrasts very dark values
- 00:42:28with very light
- 00:42:30values he contrasts intense
- 00:42:33colors bright yellows and reds with very
- 00:42:36neutralized colors that are very
- 00:42:39gray he contrast warm temperatures in
- 00:42:42many places with cool temperatures Grays
- 00:42:46greens and
- 00:42:48blues you contrast textured areas like
- 00:42:51all of this cloth in the background here
- 00:42:54with non-textured areas is like the
- 00:42:56surface of the
- 00:42:58table he contrast geometric shapes like
- 00:43:02edges of the table with very organic
- 00:43:05shapes of the fruit and
- 00:43:07vegetables he contrasts large shapes and
- 00:43:11very large shape like this back here and
- 00:43:13large negative shapes with very small
- 00:43:16shapes so he has all of those contrasts
- 00:43:18eight of them all together probably more
- 00:43:20in here but all of those contrasts help
- 00:43:23make that painting very very interesting
- 00:43:26one way that you can really begin to
- 00:43:28understand contrast is to work with a
- 00:43:30chart that really shows contrast for
- 00:43:33example I started one here and we're
- 00:43:34going to keep working on that now that
- 00:43:36that that shows intense color very
- 00:43:38bright right the way it comes out of the
- 00:43:40bottle and then neutralized with a
- 00:43:42complimentary color we can show dark
- 00:43:45value of the same color and light value
- 00:43:48we can show edges that are soft can
- 00:43:51paint them that way edges that are hard
- 00:43:53you can paint these larger cut them out
- 00:43:55and then put them on the chart
- 00:43:56we have an area that has no pattern
- 00:43:58these are all of seon's contrast and we
- 00:44:01have area that is patterned now we can
- 00:44:03find things in magazines for example we
- 00:44:05have cool temperature and warm
- 00:44:07temperature contrast I cut some pages
- 00:44:09out of a magazine that show warm
- 00:44:12temperatures and those that show cool
- 00:44:15temperatures we can make Che areas that
- 00:44:17are textured and non-textured is a
- 00:44:20textured and a non-textured area we can
- 00:44:22do do ones with areas with geometric
- 00:44:25shapes
- 00:44:27you can put those in a little collage
- 00:44:28and and and mount those on there on the
- 00:44:30chart or we can make them with organic
- 00:44:33shapes so we cut pieces that are not
- 00:44:40geometric you can make a little collage
- 00:44:42out of out of organic shape and then we
- 00:44:45can contrast large and small and we can
- 00:44:47put some large shapes in
- 00:44:50here and see we can put bigger big
- 00:44:52shapes on one side to to show large
- 00:44:55shapes
- 00:44:56and then we can put confetti like pieces
- 00:44:58on the other side this is something that
- 00:45:01that uh makes a big mess but it also
- 00:45:04emphasizes the fact that there are the
- 00:45:07difference between large shapes and
- 00:45:09small shapes and then you have a chart
- 00:45:11that has eight different kinds of of
- 00:45:14contrasts on it and if you understand
- 00:45:16these contrasts then you're able to and
- 00:45:19put them in your paintings and make your
- 00:45:20paintings more interesting they certain
- 00:45:22will not be boring or the same if you
- 00:45:25can continue to use all these kinds of
- 00:45:28[Music]
- 00:45:32contrast I'm working on a collage here
- 00:45:35that is going to emphasize emphasis and
- 00:45:38we're going to put this is really
- 00:45:40emphasizing a uh very warm colors and
- 00:45:43they're going to contrast with with cool
- 00:45:44colors I'm going to do kind of a poin
- 00:45:46Zetta like design the focal points going
- 00:45:49to be right in here now where we put the
- 00:45:52focal point in a painting is rather
- 00:45:54important if we put a focal point you
- 00:45:58know we don't want to put the focal
- 00:45:59point right in the middle that doesn't
- 00:46:00make it very interesting if we make a
- 00:46:02few lines on our on our uh paper before
- 00:46:05we start where these cross this is a
- 00:46:08good place for a focal point here and
- 00:46:10here and here and here so if we turn it
- 00:46:12up like this we're doing a vertical this
- 00:46:14is a good place to put the focal point
- 00:46:16and we're going to emphasize movement
- 00:46:18toward that focus and then the focus
- 00:46:20itself will be my point of emphasis this
- 00:46:22is going to be kind of an abstract
- 00:46:23collage of a uh po set a so we'll put
- 00:46:26some of these colors down these are nice
- 00:46:28bright red colors and I'm using two
- 00:46:30values of the colors you see that one's
- 00:46:32darker than the other by doing that I'm
- 00:46:34able to make shapes inside of this big
- 00:46:38this big overall uh pattern of uh of
- 00:46:41poinsettas so I will have have light
- 00:46:45shapes and dark shapes if I put the dark
- 00:46:47shapes
- 00:46:48together like this one next to the other
- 00:46:51one I'm creating movement see I'm moving
- 00:46:54from one shape to another other but the
- 00:46:57values are the same moving toward the
- 00:46:58focus up here so if I keep doing this
- 00:47:01I'll be able to fill the whole page up
- 00:47:03with this with this uh with these big
- 00:47:06pieces of nice bright red color in the
- 00:47:09focal area itself I want to have
- 00:47:11something a little bit different and in
- 00:47:12a poin Zetta that focal area might be
- 00:47:15pieces of
- 00:47:16yellow the emphasis on this in this
- 00:47:19collage is on the red and on movement
- 00:47:22toward the focus so I'll fill this whole
- 00:47:24page up with uh with um uh pieces of red
- 00:47:28color this way then we'll take a look at
- 00:47:30it and see how the how the design will
- 00:47:33look when it gets
- 00:47:35finished just putting the finishing
- 00:47:37touches in here this is a nice red
- 00:47:41design and will show how the emphasis
- 00:47:43begins to work and I'm really putting
- 00:47:45some brighter yellow colors in this in
- 00:47:48the focal area because that's my point
- 00:47:50of emphasis in here now look how these
- 00:47:52colors all begin to work together this
- 00:47:54is kind of an abst ract design now it
- 00:47:56turned out a little bit more abstractly
- 00:47:58I put Colors Over the Top and and
- 00:47:59changed them a little bit this one is
- 00:48:01very abstract I've done another one that
- 00:48:03I did before that is a little bit more
- 00:48:05realistic but has the same properties to
- 00:48:07it that the emphasis is really on moving
- 00:48:11up into the painting toward this focal
- 00:48:13area here there is great contrast so the
- 00:48:15emphasis is placed right there but the
- 00:48:18emphasis is really also on the fact this
- 00:48:20is a warm painting with cool contrast
- 00:48:23the emphasis is on a warm dominance with
- 00:48:26cool accents and then the focal area
- 00:48:28being in this location up
- 00:48:31here notice how tus L Trek when he made
- 00:48:34this painting made the emphasis up in
- 00:48:37here this is where we what we call call
- 00:48:39our focal area and he has these big
- 00:48:41shapes leading up to that focal area
- 00:48:44actually the emphasis here is on this
- 00:48:45group of people the contrast in here
- 00:48:48between warm and cool and dark and light
- 00:48:50make the emphasis right here and that
- 00:48:53becomes our focal
- 00:48:54point not all paintings really need to
- 00:48:57have that look at Jasper John's painting
- 00:48:59here which doesn't have any Focus the
- 00:49:02emphasis here is on color and on the on
- 00:49:05the rhythmic pattern that is being
- 00:49:07developed not on a focal
- 00:49:14point I'm looking at it at a piece of
- 00:49:16Indonesian Boutique which has been
- 00:49:19printed in a pattern pattern is one of
- 00:49:21the principles of design that some
- 00:49:24artists use architect use it a great
- 00:49:26deal uh but painters also use it and
- 00:49:29many designers do pattern is repeated
- 00:49:32elements of the of design any of the
- 00:49:35elements of design can be used line
- 00:49:37texture shape color look at the pattern
- 00:49:40on the outside here as it's repeated
- 00:49:42around the edge that's a border pattern
- 00:49:45this little piece has also got pattern
- 00:49:48in it repeated constantly from one part
- 00:49:51to another over and over and over and
- 00:49:52over again to make a regular pattern
- 00:49:55this is a regular on the outside
- 00:49:57patterns can be both regular and
- 00:49:59irregular but these are all regular
- 00:50:02patterns that are woven into that cloth
- 00:50:05wallpaper also has a pattern look at the
- 00:50:08repeated elements that keep repeating
- 00:50:11all the time there are repeated lines
- 00:50:14repeated textures and since they're
- 00:50:16repeated on regular intervals we call
- 00:50:19this regular
- 00:50:21pattern we can find pattern in nature
- 00:50:24also both regular and irregular when you
- 00:50:27cut into a piece of fruit like this
- 00:50:28grapefruit you can find regular pattern
- 00:50:31those segments are repeated again and
- 00:50:34again all the way around this circular
- 00:50:36design here we have a rock that has
- 00:50:39holes in it the holes make a pattern in
- 00:50:41the rock those patterns are irregular
- 00:50:44they're not in a regular
- 00:50:46sequence I'm just experimenting a little
- 00:50:48bit here with this it's just an eraser
- 00:50:50that I'm printing printing is very
- 00:50:52probably the best way to show repeat
- 00:50:54patterns cuz because you can repeat
- 00:50:56exactly the same shape again and again
- 00:50:59but I see I can make it
- 00:51:00irregular here's the same shape
- 00:51:03repeated but it becomes irregular as far
- 00:51:06as the pattern is concerned if we want
- 00:51:08to make regular patterns then we have to
- 00:51:10lay out a uh design on a piece of paper
- 00:51:13that is in a regular pattern if I take
- 00:51:15this Angel and print it and put it in
- 00:51:18one of these
- 00:51:20spots and print it
- 00:51:23again here and it
- 00:51:26again here see I can work it like this
- 00:51:30this is called a drop pattern when when
- 00:51:32things are when they don't show up right
- 00:51:35directly below one below the other but
- 00:51:36drop down and move over to the side
- 00:51:38that's called a drop pattern and that's
- 00:51:41way you see a lot of of wallpaper is
- 00:51:43made that way so you just would
- 00:51:45alternate squares that way and build up
- 00:51:47a regular pattern I can also make those
- 00:51:50take those same things and make
- 00:51:51irregular patterns with them I can use
- 00:51:53the angel make an irregular pattern by
- 00:51:56putting the angel there and putting her
- 00:51:58there and see I can just make an
- 00:52:01irregular pattern the angel is repeated
- 00:52:03the element is repeated but it's
- 00:52:06repeated in an irregular
- 00:52:08way making pattern here in
- 00:52:10threedimensional pattern actually making
- 00:52:13it in a piece of clay pattern in Clay is
- 00:52:16fun to make see this is a regular
- 00:52:17pattern being repeated just one Mark
- 00:52:20after another I could use other kinds of
- 00:52:22tools make other kinds of patterns see
- 00:52:24this will make a different kind of
- 00:52:25pattern as long as I repeat I could
- 00:52:28repeat those like a brick pattern see I
- 00:52:30could do them this way like a drop
- 00:52:32pattern one alternating with the other
- 00:52:34one as it goes along here so you have
- 00:52:37different kinds of pattern but the
- 00:52:39pattern is a thing that makes the
- 00:52:40surface of a of a clay body interesting
- 00:52:43but it makes the surface of your
- 00:52:44painting interesting
- 00:52:46also people who work with quilts also
- 00:52:49have to use pattern
- 00:52:51continually if an architect designs the
- 00:52:54front of a building he wants the pattern
- 00:52:55on the front of the building to make
- 00:52:57that facade of the building more
- 00:52:59interesting we look at Paul Clay's
- 00:53:01painting Paul Clay's painting also has
- 00:53:04pattern those repeated squares make
- 00:53:06pattern like a checkerboard almost but
- 00:53:09because of the way Paul clay put them
- 00:53:10together it certainly is not
- 00:53:14[Music]
- 00:53:18monotonous what I'm trying to do here is
- 00:53:21to bring order out of chaos there are a
- 00:53:24bunch of pieces P of colored paper here
- 00:53:27I'm trying to organize them and trying
- 00:53:29to create some kind of unity that it all
- 00:53:31feels together the opposite of unity is
- 00:53:33chaos and that's about the way this this
- 00:53:36seems now uh we can create a sense of of
- 00:53:39unity a little bit if we kind of bring
- 00:53:41these together a little but if we
- 00:53:43overlap them and bring them closer
- 00:53:46together even pieces that are closer
- 00:53:48together they'll begin to feel more
- 00:53:50unified if we kind of cluster them so by
- 00:53:54bringing them closer to together I can
- 00:53:55make them feel unified if I take out a
- 00:53:57few of these colors like take out some
- 00:54:00of these green ones maybe leave one for
- 00:54:04accent after a while and have all the
- 00:54:06colors more related to each other that
- 00:54:09establishes a greater sense of unity see
- 00:54:12they're all kind of warm against that
- 00:54:13cool background and that establishes a
- 00:54:16better sense of unity I can also line up
- 00:54:19edges I can take the edges of these
- 00:54:21things and line them up so that they
- 00:54:24they continue from one Edge to another
- 00:54:26and can tie the pieces together like
- 00:54:28that so that that edge goes all the way
- 00:54:30across comes down and and ties those if
- 00:54:33I tie those edges together that will
- 00:54:35give me another sense of unity of
- 00:54:37establishing a sense of belonging
- 00:54:39everything belonging together Unity
- 00:54:42actually in a work of art see if I line
- 00:54:44things up like this a little bit unity
- 00:54:46in a work of art means that that
- 00:54:48everything seems to belong everything
- 00:54:50seems to work together and then if I put
- 00:54:52a put this green piece in here as a a as
- 00:54:55a focal area see I can get all these
- 00:54:58pieces together I've left out a few of
- 00:55:00those green ones I've unified it by
- 00:55:02using syar warm colors with a cool
- 00:55:04accent lining up edges clustering things
- 00:55:07together all of those are ways that
- 00:55:09artists can use to unify a
- 00:55:12painting if we look at a couple of works
- 00:55:15of art that people have done just in
- 00:55:16recent years we can see how Unity has
- 00:55:18been established by these artists Louis
- 00:55:21nevelson in her Wood Construction has
- 00:55:23all kinds of pieces of wood but look at
- 00:55:26the center part in here it doesn't have
- 00:55:27any relation to these pieces at all
- 00:55:29except that they're three-dimensional
- 00:55:30but by painting them all white that
- 00:55:33unifies this whole surface it's going to
- 00:55:35be a very many different kinds of things
- 00:55:38happening but a single color will help
- 00:55:40unite them all you can look at the
- 00:55:42painting a painting by George sarra now
- 00:55:46look at the unity that's established in
- 00:55:48here it's almost by technique because
- 00:55:50all the figures are painted very much
- 00:55:51alike with all their hard edges and
- 00:55:54their stylization
- 00:55:55it helps unify the whole surface because
- 00:55:57the figures are all over the surface not
- 00:56:00only that all this surface is made up of
- 00:56:02very small dots in a technique called
- 00:56:05pointalism all those points of color
- 00:56:08help establish a sense of unity also
- 00:56:10throughout the surface it's all a
- 00:56:12similar kind of texture so by style and
- 00:56:15by texture and by brush stroke we can
- 00:56:18also establish unity in the
- 00:56:20painting look at one of Van Go's
- 00:56:23drawings the reason this is Unified is
- 00:56:25because you can see all of those marks
- 00:56:28little dots little lines helps establish
- 00:56:31a sense of unity so does the feeling of
- 00:56:33going from forward back into the
- 00:56:35painting in perspective that helps
- 00:56:38establish unity and the same color is
- 00:56:40used in the ink throughout the work so
- 00:56:42here we have marks the kind of marks the
- 00:56:45kind of color the feeling of space going
- 00:56:47back into the painting that establishes
- 00:56:51Unity Edgar dear in his pastel use all
- 00:56:54of the principles of design practically
- 00:56:56all of them in order to make one unified
- 00:56:59statement he used balance asymmetrical
- 00:57:02balance see if we divide this up smaller
- 00:57:04here bigger here on this side more
- 00:57:06activity over here he used movement all
- 00:57:09of these things Parts move the values
- 00:57:11move the colors move look at the Rhythm
- 00:57:14that he used the all the rhythms of the
- 00:57:16hands and the arms The rhythms of the
- 00:57:18skirts down here all of those help unify
- 00:57:21the surface use lots of contrast between
- 00:57:24dark and Light between big open spaces
- 00:57:26and very congested spaces between warm
- 00:57:28and cool it's got all kinds of of
- 00:57:31contrasts happening
- 00:57:33also some artists like Edgar dega use
- 00:57:36almost every one of the principles of
- 00:57:37design in order to complete his work not
- 00:57:40all artists use all the principles but
- 00:57:43some of them use almost every one as the
- 00:57:45god did in his work and when he gets
- 00:57:47done he has a very very beautiful fully
- 00:57:49organized and very cohesive and unified
- 00:57:53work
- 00:58:08[Music]
- art
- design
- ligne
- forme
- couleur
- texture
- valeur
- espace
- équilibre
- mouvement
- rythme
- contraste