Design and Communication: Line

Design & Communication | ARTS102

Lesson Si Line

x

Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS10

Design & Communication: LINE THE PRINCIPLE OF LINE IN VISUAL COMMUNICATION - OVERVIEW

What is the design element of LINE? Lines are a graphic construct; they do not really exist in nature. They will portray either the outline of a shape or the edge of light and shadow as it exists in reality.

Beyond de ning “reality”, lines can express emotion, movement, and gesture, function as borders or dividers, and work as decoration or embellishment of other imagery.

Line is essentially a mark on a surface that describes a shape or outline. It can create texture and can be thick and thin.

Types of line can include actual, implied, vertical, horizontal, diagonal and contour lines.

length. Line is an art element. There are numerous varieties of possible lines, including curved, bent, thick, wide, broken, vertical, horizontal, burred, or freehand.

Lines are frequently used to delineate shapes, forms and spaces. The representation of volume, edges, movement and patterns can all be created using line. Lines can create both 2D and 3D objects and gures.

Line can be formally de ned as the path a point takes as it moves across a surface, a point set in motion. As we as visual communicators will deal with it, though, it will be considered in the dimension of width as well as length.

PHYSICAL LINE may vary in weight and character but remains continuous

Line in drawing refers to a type of mark that contains both a direction and a “Polar Bear” by Isamu Noguchi, pencil, 1928

2

.

fi

fi

fi

2

Line

Implied Line IMPLIED LINE consists of disconnected elements that the viewer will connect by eye. See “Gestalt/Continuity”.

3

L U Line CTUS

Psychic Line and Contour Line There is PSYCHIC LINE, where one object in an artwork points to and therefore directs the viewers eye from one point to another., as seen in the image left, above The most basic type of line that the designer uses to create a 3D illusion on a 2D surface is CONTOUR line. Contour lines accurately describe the shape of forms by precisely recording their edges, contours, and intersections. Prior to the advent of photography this was a tremendously valued skill as it was one of the few ways to document nature, people, places, or events. J. A. D. Ingres (1780 - 1867) personi ed this type of drawing as he would use his contour drawings as studies for paintings as well as individual portrait artworks themselves. Notice in the drawing shown lower left, the accuracy of edges, the variance of line from dark to light to show emphasis, and the detailed passages creating the illusion of dimensional realism A more contemporary approach to contour drawing can be found in the drawings of contemporary artist Ellsworth Kelly, lower right. Note his use of negative space to create balance of visual weight, as well as the subtle variances of line character (thin to thick, light to dark, etc.) that help project leaf forms forward from other parts of the drawings.

“Portrait of Madame d’Haussonville, J. A. D. Ingres, 9 3/16” x 7 3/4,” graphite, 1845

“Hyacinth’” Ellsworth Kelly, graphite, 1949

.

.

fi

4

C H A Line PTER 2 Line Found in Nature The illusion of line can be found in nature beyond mere outline. In this photo seen top right, the aspen trees become the notes and the dark spaces become intervals of silence or rests in musical terms.

The framing of the image by the photographer takes a natural event and turns it into a rhythmic vertical linear movement across the composition This photograph, below of zebras also promotes the illusion of line in nature. Here striped form is repeated to create a visual movement in and around the image. Notice that in looking at these images your eye never really comes to a rest, but continues to ow through the composition. This, by the way, confuses predators as well, making the designs not only beautiful but functional as camou age as well.

.

fl

fl

5

C H A Line PTER 2

Common Contour Contrast between adjacent areas in an image causes contours. The sharper the edge the higher the contrast, the higher the contrast the more the edge appears to “advance’ in space. When two shapes share the same or COMMON contour a competition for dominance between the two shapes occurs. The sharing of edges causes visual tension, as each form has it’s own shape that we visually try to separate from the whole Seen at lower right, M. C. Escher used the common edge as well as positive/negative space and shape relationships to create ambiguous illusions that can be read in multiple ways

.

.

6

C H A Line PTER 2

Gesture Line Another form of drawing is GESTURE drawing. With gesture drawing, the movement, weight, posture, and general character of the drawing at a single point in time is more important than the accurate description of shape or contour. Here, line moves freely through the form, creating dynamic tension and movement as well as implying volume in the ballet dancer “Ella Fitzgerald,” Al Hirschfeld, Lithograph, 21” x 27,” 1993

Directly related to gestural line is EXPRESSIVE line. Here the intent is to emphasize the kinetic potential and energy within a descriptive format. Constantly varying line characters such as weight, thinness, and character creates a dynamic flow within the image Expressive line can be exaggerated, along with the exaggeration of form, to create caricatures. The drawings of Al Hirschfeld exhibit fluid line along with gestural flourishes to show motion and emphasize features of prominent individuals

“Untitled,”, Willem de Kooning, 18 3/4 x 24,” charcoal, 1968

.

.

.

7

C H A Line PTER 2 Lost and Found Contour Lost and found line works with the Gestalt theory of Closure to ll areas where line has trailed off or is nonexistent. Here in the Egon Schiele drawing, immediate right, elements are left out, such as parts of arm, yet we interpret them as whole gures. This is done to alter the visual weight of the drawing for balance purposes The expressive line can be varied in layers to create a deep illusion of abstract space, as in this

“Cold Mountain 6,” Brice Marden, oil on canvas, 108” x 144,” 1991

Brice Marden painting, right

.

.

fi

fi

8

C H A Lin PTER 2 Unvarying Line Julian Opie uses a constant, unvarying line to atten the space in this images. The regular line functions in a way like the grid referred to in the Unity chapter...it provides a stable, unmoving “screen” across the picture plane that does not indicate space. When used with at color or value the designer can atten pictorial space for aesthetic reasons.

“Queen,” Julian Opie, Oil on Canvas

fl

fl

fl

e

9

C H A Line PTER 2 Line in Animation

This at use of line is common in animation, as it is an easy and constant way to unify the imagery as well as making it easy to ll in with color. Animators do try to vary line weights; exterior lines are often heavier than interior. They do not often have constant variety for the sake of consistency within style sheets created for characters, as often one character may be drawn by several artists When successfully completed, the animation will cause the viewer to see the characters, and not individual linear elements

fi

.

.

fl

10

C H A Line PTER 2

Terms & De nitions

Common Contour A contour line in common with two different images Contour A line used to follow the edges of forms and in doing so describe their outlines Gesture Drawing Line that records the movement, weight, posture, and general character of the subject at a single point in time. Here, line moves freely through the form, creating dynamic tension and movement as well as implying volume.

Implied Line An imaginary line created by positioning a series of points or short lines so that our brain joins them, such as a dotted or dashed line Line Quality A characteristic of line determined by its weight, direction, uniformity, or other feature Lost and Found Edges A description of a form in which an object is revealed by distinct contours in some areas and soft or areas faded into the ground in others Psychic Line A mental connection between two elements

.

.

.

.

.

fi

.

11

Objectives • Begin to visually communicate LINE in a compositio • Create interesting design within severe limitatio • To continue to develop skills in art and design compositions

Helpful Tips Please refer to your software instructions or use the Adobe help website.

Try to google photoshop questions or refer to online YouTube tutorials to get familiar with pen/line and brush styles available in your software.

ASSIGNMENT PART 1: Using the principles and elements learned so far, you will create four images using only line: Arrange 5 straight, thin lines (exact same size and length) in a pleasing design. Next, arrange 5 straight thick lines (exact same size and length) in a pleasing design. Now repeat the procedure for the remaining squares with 5 THIN CURVILINEAR lines, and 5 THICK CURVILINEAR lines.

Two squares should be white design on black, and two squares should be black design on white. Consider things like direction, overlap and negative space

ASSIGNMENT PART 2 Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation 1. What is line 2. What does the direction of your line suggest in your composition?

3. What do you like about your nished art 4. What can you do better next time

Open a new le in your software. Please use 8.5 x 11 size document and create four squares for each composition. Make your compositions using the line, pen and/or brush tool, to your liking. You will create one design for each square on your document (4 total).

This assignment is worth 20 points.

Here is the rubric for the assignment • following directions (20%) • submitting proper le format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20% Please let me know if you have any questions. Enjoy

• Use only black and white for this assignment -- no colo • Use only 5 lines for each desig • The design should be non-objective (no identi able objects • Balance the positive and negative space Feel free to be as creative as you wish; use other tools or options as you are comfortable within the limitations of the assignment. Save the le as LOW RESOLUTION JPEG and upload to the assignment folder provided for Line

.

fi

)

.

)

r

:

n

!

n

fi

?

s

:

?

n

:

fi

fi

:

:

fi

?

12

.

Assignment: LINE