Visual elements

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Information about Visual elements

Published on January 27, 2016

Author: akeka

Source: slideshare.net

1. THE VISUAL ELEMENTS OF AN IMAGE

2. LOOK CAREFULLY AT NEXT PICTURE AND DESCRIBE THE ELEMENTS THAT YOU CAN SEE IN IT

3. I can see a spider

4. I can see a face

5. A bird ¿

6. He´s crying

7. There are a lot of stars

8. There are many things in a picture

9. But…

10. We are looking for the essential elements

11. The smallest visual elements on plastic work

12. Look for the essential elements

13. Try it again. Just the essential elements¡

14. WHAT ARE THESE ?

15. A DOT

16. A LINE

17. A PLANE

18. THE VISUAL ELEMENTS OF AN IMAGE

19. THE VISUAL ELEMENTS OF AN IMAGE DOT

20. THE VISUAL ELEMENTS OF AN IMAGE LINE DOT

21. THE VISUAL ELEMENTS OF AN IMAGE LINE  DOT

22. THE VISUAL ELEMENTS LINE  DOT

23. THE VISUAL ELEMENTS LINE  But there are two other missing visual elements DOT

24. But there are two other missing visual elements

25. But there are two other missing visual elements Can you imagine ¿

26. Look at the screen

27. The fourth element is the…

28. COLOURCOLOUR

29. And the last element in an image is…

30. And the last element in an image is… Look at the screen

31. TEXTURE

32. THE VISUAL ELEMENTS

33. THE VISUAL ELEMENTS DOT

34. THE VISUAL ELEMENTS LINE DOT

35. THE VISUAL ELEMENTS LINE  DOT

36. THE VISUAL ELEMENTS LINE   DOT

37. THE VISUAL ELEMENTS LINE    DOT

38. BASIC ELEMENTS OF PLASTIC EXPRESSIONS

39. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture.

40. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture. These elements, isolated or combined, are a language in itself with specific rules. They allow the author to transmit to other people ideas, sensations or feelings.

41. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture. These elements, isolated or combined, are a language in itself with specific rules. They allow the author to transmit to other people ideas, sensations or feelings. It is important to study the characteristic and fundamental rules of the plastic elements in order to express effectively our own plastic language.

42. THE DOT

43. The dot is the smallest, simplest element in visual expression. THE DOT

44. Dots are normally round, but they can have different shapes according to their function. Dots used in visual expression can have irregular surface and outline.

45. A shape is a dot when it takes a very small part of the surface where we draw.

46. If it is bigger than other shapes around, we consider it a plane.

47. If it is bigger than other shapes around, we consider it a plane.

48. A dot If it is bigger than other shapes around, we consider it a plane.

49. If it is bigger than other shapes around, we consider it a plane. A dot A plane

50. Expressive capacity of the dot

51. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions.

52. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

53. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

54. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

55. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

56. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

57. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

58. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

59. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped

60. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped

61. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped

62. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped

63. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped

64. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped

65. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped

66. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration= dots are grouped dispersion= dots are at a distance

67. Expressive capacity of the dot

68. Expressive capacity of the dot Line made with dots

69. Expressive capacity of the dot concentration Line made with dots

70. Expressive capacity of the dot concentration dispersion Line made with dots

71. Dots also have a great attraction power. It makes them very efficient as a composing element and as an indication sign.

72. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume.

73. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume.

74. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume.

75. THE LINE

76. THE LINE

77. If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. THE LINE

78. If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. THE LINE A DOT IN MOTION

79. If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. THE LINE A DOT IN MOTION

80. If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. THE LINE A DOT IN MOTION

81. If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. THE LINE A DOT IN MOTION

82. If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. THE LINE A DOT IN MOTION

83. If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. THE LINE A DOT IN MOTION

84. THE LINELines have a position and a direction in space…

85. THE LINELines have a position and a direction in space…

86. THE LINELines have a position and a direction in space…

87. THE LINELines have a position and a direction in space…

88. THE LINELines have a position and a direction in space…

89. THE LINELines have a position and a direction in space… …and one of their functions is to delimitate the outline of shapes.

90. THE LINELines have a position and a direction in space… …and one of their functions is to delimitate the outline of shapes.

91. THE LINELines have a position and a direction in space… …and one of their functions is to delimitate the outline of shapes.

92. THE LINELines have a position and a direction in space… …and one of their functions is to delimitate the outline of shapes. For this reason and for its expressive possibilities, it is very suitable to describe accurately any shape and to transmit ideas and emotions.

93. THE LINE

94. THE LINEThe shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness, etc.

95. THE LINEThe shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness, etc.

96. THE LINEThe shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness, etc.

97. THE LINEThe shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness, etc.

98. THE LINEThe shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness, etc.

99. The structural differences of lines make them expressively rich.

100. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

101. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

102. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

103. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

104. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

105. CLASSIFYING LINES

106. CLASSIFYING LINES According to their structure, lines can be classified in:

107. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines

108. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines Composed lines

109. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines

110. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines

111. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.

112. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines

113. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines

114. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines.

115. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines.

116. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines. We make mixed lines with fragments of straight and curve lines.

117. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines. We make mixed lines with fragments of straight and curve lines.

118. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions:

119. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical,

120. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal

121. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique

122. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique or curve.

123. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique or curve. Each of them has a different expressive value.

124. EXPRESSIVE POSSIBILITIES OF LINES

125. EXPRESSIVE POSSIBILITIES OF LINES Vertical lines:

126. EXPRESSIVE POSSIBILITIES OF LINES Vertical lines: transmits an upward or a downward movement, depending on how we use them. It gives us a visual sensation of growing, balance and power.

127. growing

128. balance

129. power

130. growing

131. growing

132. growing balance

133. growing balance

134. growing balance power

135. growing balance power strong

136. EXPRESSIVE POSSIBILITIES OF LINES

137. EXPRESSIVE POSSIBILITIES OF LINES Horizontal lines:

138. EXPRESSIVE POSSIBILITIES OF LINES Horizontal lines: horizontal direction gives a visual sensation of stability, calm and serenity, but an excessive use can give a dull effect.

139. stability

140. calm

141. serenity

142. Stability

143. Stability

144. Stability Calm

145. Stability Calm

146. Stability Calm Serenity

147. EXPRESSIVE POSSIBILITIES OF LINES

148. EXPRESSIVE POSSIBILITIES OF LINES Obliques lines :

149. EXPRESSIVE POSSIBILITIES OF LINES Obliques lines : transmit more instability and movement. These two aspects give slanting lines a visual sensation of dynamism.

150. instability

151. movement

152. dynamism

153. Instability

154. Instability

155. Instability movement

156. Instability movement

157. Instability movement dynamism

158. EXPRESSIVE POSSIBILITIES OF LINES

159. EXPRESSIVE POSSIBILITIES OF LINES Curve lines :

160. EXPRESSIVE POSSIBILITIES OF LINES Curve lines : Transmit a visual sensation of movement and joy.

161. movement

162. joy

163. THE PLANE

164. THE PLANE

165. A plane is a two-dimension surface, length and width, and it has a position and a direction in space. THE PLANE

166. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.This plane is delimitated by an contour line

167. THE PLANE There are several ways to describe the limits of a plane:

168. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

169. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

170. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

171. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

172. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

173. There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. THE PLANE

174. There are several ways to describe the limits of a plane: THE PLANE

175. There are several ways to describe the limits of a plane: THE PLANE The surface of this plane is defined by very little dots...

176. There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. THE PLANE The surface of this plane is defined by very little dots... or by a texture

177. There are several ways to describe the limits of a plane: The surface of this plane is defined by very little dots... or by a texture or by lines THE PLANE

178. There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. THE PLANE

179. There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. To define this plane, we use a coloured surface THE PLANE

180. CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. THE PLANE

181. CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. THE PLANE We have two types:

182. CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. THE PLANE We have two types: Geometric: they can transmit strong visual sensations of order and stability. Organic: They give a visual sensation of more dynamism than geometric forms.

183. CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. THE PLANE We have two types: Geometric: they can transmit strong visual sensations of order and stability. Organic: They give a visual sensation of more dynamism than geometric forms.

184. CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. THE PLANE We have two types: Geometric: they can transmit strong visual sensations of order and stability. Organic: They give a visual sensation of more dynamism than geometric forms.

185. CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. THE PLANE We have two types: Geometric: they can transmit strong visual sensations of order and stability. Organic: They give a visual sensation of more dynamism than geometric forms.

186. This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE

187. This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE

188. This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE

189. This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE

190. This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE

191. This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Observe: if we join planes in different directions, we get a visual sensation of volume. Other plastic elements such as changes in colour and size contribute to this.

192. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE

193. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE

194. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions:

195. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions: length

196. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions: length

197. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions: length, width

198. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions: length, width

199. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions: length, width and depth

200. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions: length, width and depth

201. This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE THE PLANE Volume has three dimensions: length, width and depth

202. The plane is most suitable to transmit visual sensations such as volume, chiaroscuro, depth, etc. These qualities make of it a fundamental part for the elaboration of artistic work in any of their means of expression.

203. THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.

204. THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.

205. THE TEXTURE

206. THE TEXTURE Texture is the quality of surfaces due to the material structure of the object. It can transmit different visual and tactile sensations.

207. We can distinguish flat TEXTURE

208. We can distinguish flat TEXTURE

209. We can distinguish flat TEXTURE

210. We can distinguish FLAT TEXTURE

211. We can distinguish FLAT TEXTURE smooth

212. We can distinguish FLAT TEXTURE smooth

213. We can distinguish FLAT TEXTURE

214. We can distinguish FLAT TEXTURE granulated

215. We can distinguish FLAT TEXTURE granulated

216. We can distinguish FLAT TEXTURE

217. We can distinguish FLAT TEXTURE rough

218. We can distinguish FLAT TEXTURE rough

219. the surface of silk is flat and smooth

220. the surface of the bark of a tree is rough and ridged

221. Artists use textures as another plastic element to reach more expressivity in their works

222. NATURAL AND ARTIFICIAL TEXTURES

223. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into:

224. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into: Natural textures

225. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into: Natural textures Artificial textures

226. NATURAL AND ARTIFICIAL TEXTURES

227. NATURAL AND ARTIFICIAL TEXTURES Natural textures: those present in nature.

228. NATURAL AND ARTIFICIAL TEXTURES Artificial textures: those manually or mechanically elaborated by man.

229. TACTILE TEXTURES

230. We can perceive them through the sense of touch. In plastic representation - painting or sculpture-, we can perceive a lot of tactile effects combining different materials or making surfaces with the relief we want. TACTILE TEXTURES

231. VISUAL TEXTURES

232. VISUAL TEXTURES

233. VISUAL TEXTURES We perceive visual textures only with our sight. We also call them graphic textures, because they are photographs or representations on paper or on other materials.

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