2 tasks both 1000 words and 15 hrs

T h e V i s u a l E l e m e n t s o f D e s i g n The following ten elements are intrinsic to all forms of design, whether they refer to image-based compositions, sculptural forms, or time-based works.

1 . P O I N T : A position, place or spot that is defined by a specific and identifiable measurement in space. For example, the corner of a cube can be identified specifically. 2 . L I N E : Line is a point that moves. Therefore, it functions as a mark that connects two points. Lines can be literal, (such as a rule line), or implied (such as a linear force). Lines can organize, contain, separate, direct, connect, convey rhythm, or suggest motion.

This painting by Paolo Uccello, Battle of San Romano, c. 1456, demonstrates the use of linear forces as opposed to actual rule lines. The viewer reads the procession and convergence of lines as unifying elements of the composition.

3 . P L A N E : A plane is the surface containing all the straight lines connecting any two points on it. When referring to a drawing, the piece of paper on which the drawing is made is a plane, but it also contains illusory planes that represent other objects in space. In the image (below, right), the front face of the table represents one plane, and the wall behind the table represents another plane. 4 . F O R M ( o r S H A P E ) : Form or shape is indicated by the ending of one item or object as it is seen next to or inside of another item or object. Geometric forms are good examples. We are able to designate a black circle floating within the center of a piece of white paper because we can easily define the end (or the silhouette) of the black form against the white paper. Similarly, when we look at this image of Charles Sheeler’s painting, entitled Interior, 1940 (right), we see triangles, rectangles, ovals, the curved form of a pitcher, etc. There are also pronounced linear elements that help us move throughout the composition. Note that the forms that are seen in this painting are not restricted to the nameable objects that pertain to the items in the still life painting (such as the pitcher). Some of the forms are created by shadows (such as the triangle under the table). This brings us to the next element of design…

5 . P O S I T I V E / N E G A T I V E S P A C E ( o r F I G U R E / G R O U N D R E L A T I O N S H I P ) : This is the relationship of what we view as shapes against their surroundings. Referring back to Sheeler’s painting, the pitcher, dish, table, picture on the wall, and piece of cropped furniture to the left of the composition are all positive shapes that refer to actual objects in space. The wall is negative space. However, the shadows tend to function as both positive and negative spaces simultaneously, since we know that they are “holes” in the air, but they are as visually tactile (and in some cases, even more so) than what we know to be solid objects.

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Now, letʼs look at Richard Diebenkornʼs ink drawing from 1967, entitled Still Life with Cigarette Butts and Glasses, (left). The sharp contrast in positive and negative shape leads the viewerʼs eye through a repetition of similar “holes” (such as the handles of the scissors and the frames of the eyeglasses). The composition also presents a sequence of rectangles, lines and circles that create a rhythm of movement. (See The Principles of Design on the next page.)

6 . S I Z E : This is the actual measurement of how big something is. For instance, on a piece of paper that measures 18 x 24 inches, there may be a drawing of a figure. The shape of the figure may measure 12 x 5 inches. This measurement has nothing to do with the measurements of the subject in reality.

7 . S C A L E : Not to be confused with size, scale refers to the relationship of one thing, object, or image to another. This sculpture (left), entitled Triune, by Robert Engman, 1975, is situated in Philadelphia’s City Center. Although the sculpture is considerably smaller than City Hall (the building seen to the right of the sculpture in the image), the dynamic point-of-view of this photograph causes the sculpture to dwarf the adjacent building. Therefore, in this image, the Scale of the sculpture to the size of the pictorial field is greater than the scale of the building to the size of the pictorial field.

8 . T E X T U R E : Texture refers to the feel of a surface, and can be literal or illusory. Patterns in images convey texture, as well. A drawing or photograph can convey the feeling of furriness or of sharpness even though the physical touch of the drawing or photograph is smooth.

9 . V A L U E : The relative lightness or darkness of an object or area is known as value. For image-based works such as drawings and photographs, value gives illusory space (volume and distance) to the two-dimensional surface. In addition, value variations help the viewer determine shapes, as well as positive and negative space within a pictorial field.

1 0 . C O L O R : Color is often included in the list of Visual Elements of Design, as it functions simultaneously with, but also independently, from value. But, because of its psychological effects, and due to semiotic and cultural applications, color is an element that tends to be nomadic and unpredictable, which does not adhere to the same kind of rational analysis that the other nine elements provide. Therefore, it must be given its own category. We will cover that in the second half of the semester.

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A p p l i c a t i o n s o f D e s i g n These applications constitute the various configurations and behaviors of the Elements of Visual Design. In some cases, these applications are defined differently when discussing image-based compositions, sculptural forms, or time-based works. A . R H Y T H M : The pattern of repeating design elements is known as rhythm. This repetition can imply a flow that leads the viewer through a composition or around a sculpture, and can solidify otherwise disparate elements within an artwork, design or installation.

In this 1920-21 linocut by Vladimir Kozlinsky, entitled ROST A Window Poster, the black square that is repeated in the windows, the opened mouths, and the width of the letterforms creates a sense of unity in the composition. What other repeated elements can you identify that add to the overall cohesiveness of this diptych?

The procession of Nick Cave's Speak Louder, 2011, reads like a piece of sheet music, with repeating circular shapes positioned in varying orientations of high and low, and the swag of connecting fabric acting as a ribbon to tie the shapes together.

B . B A L A N C E : Balance (in image-based compositions) refers to the VISUAL distribution of design elements. (Note that this is not the same as balance when used in relation to physical forces involving weight and gravity in sculptural forms.) In this regard, balance most frequently occurs across the vertical axis of a pictorial field (vertical symmetry). Horizontal symmetry is rare, but visually compelling. Asymmetrical distribution of design elements can suggest dynamic movement or visual emphasis as seen in the sample on the following page.

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Serbian artist Mrdjan Bajic´ evokes uneasiness with this sculpture entitled Angel, 2007, shown in the image on the left. This work of art represents visual asymmetry while it remarkably maintains structural balance. Kendell Geersʼ neon artwork Seven Deadly Sins (Gluttony), 2007, seen at the far right, illustrates both vertical and horizontal symmetry.

C . M O V E M E N T : The placement of design elements in relation to one another or to the format of the pictorial field itself, not only leads the viewer’s eye from one element to another, but can also imply motion from the elements being depicted. The formats of compositional movement include (but are not limited to): radial movement (both converging and expanding); gravitational movement (both falling and rising); and linear movement (either from one edge of the pictorial field to another, or from the front to the back of the pictorial field). We tend to read symbolic representations as directors of movement, such as arrows, a pointed finger, or the direction of the subject's gaze. Speed of movement can also be conveyed through the value, placement and shape of the visual elements. The two installations below imbue quite different sensibilities of movement:

The installation above is Francis Alysʼ presentation at the 2007 Venice Biennale. Consistently sized frames placed in straight rows create horizontal, linear movement and a pattern that mimics even footsteps during a calm walk. (The drawings happen to represent the repeated motions of shining a shoe.)

By contrast, at the right is Oyvind Fahlstromʼs installation at the 2009 Venice Biennial. The movement created by the placement of the individual works in the gallery is unstructured and erratic, with various scales and gravity-defying suspension that moves viewers in and out of the works like a racquetball in play.

D . P E R S P E C T I V E : Perhaps the most dynamic application of Visual Elements of Design is perspective. Perspective is the translation of actual space into two-dimensional forms. The placement of elements along converging linear forces simulates advancing and receding planes. Likewise, the shift in scale of objects mimics the way our vision interprets distance. Perspective is most often associated with perceptive or image-based works of art and design, although some sculptors and architects have used this visual device to achieve incredible results.

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E . P O I N T - O F - V I E W : The application of point-of-view is unique to works of art that are image-based because it represents the artist's position in relation to the subject when creating the work. (This should not be confused with the viewer's position when viewing the work, nor does "point-of-view" mean "opinion.") When working with a stationary subject, an artist working in drawing, painting, photography or film maintains a single point-of- view (with the exception of the Cubists). However, an artist working sculpturally, architecturally, or with installation must circumnavigate all spatial possibilities of her or his subject. It then follows that viewers of a painting, drawing, photograph or film project themselves into the work exactly as it was viewed or conceived by the artist. The results are compelling, such as the bird’s-eye composition seen at right, entitled The Midnight

Ride of Paul Revere, by Grant Wood, 1931. At the bottom of the pictorial field, where we least expect to see them, we find the chimneys and rooftops of houses. The road curls up to the top of the pictorial field as if it were the smoke curling from one of these chimneys.

(Note: POINT-OF-VIEW, as it is discussed here, refers to a characteristic of the work of art or design, and describes the position in space (high, low, near, far) from which the artist has depicted her or his subject.)

R E C A P : T h e E l e m e n t s o f D e s i g n A p p l i c a t i o n s o f D e s i g n 1 . P O I N T A . R H Y T H M

2 . L I N E B . B A L A N C E

3 . P L A N E C . M O V E M E N T

4 . F O R M D . P E R S P E C T I V E

5 . P O S I T I V E / N E G A T I V E S P A C E E . P O I N T - O F - V I E W

6 . S I Z E

7 . S C A L E

8 . T E X T U R E

9 . V A L U E

1 0 . C O L O R

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