Foundation of Visual Art Design
Element of Design Visual Elements • • • • • • • •
Dot, Point Line Plane Shape & Form Values Color Space Texture
Principle of Design Visible Appearances -
Repetition (การซ้ำ า) Rhythm (จังหวะ) Harmony (ความกลมกลืน) Balance (ดุลยภาพ) Contrast (ความขัดแย้ ง) Vibration and Detail (รายละเอียดและการสร้ างจุดสนใจ) Dominance (จุดเด่ น) Unity (เอกภาพ)
* Generally due to visual effect
* โดยทัว่ ไปจะข้ องเกีย่ วกับผลทางการมอง
Element of Design Visual Element หน่ วยทีเ่ ล็กทีส่ ุ ด คือ
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(จุด)
Element of Design เมือ่ นำาจุดเรียงตัวกันจะเกิด Visual Element ใหม่ คือ “ เส้ น ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .................... . ..................................................................................................................................... . ............ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. . . . . . . . . . . . . . . . . . . . .
Element of Design เมื่อนำาเส้ นเรียงตัวกันจะเกิด Visual Element ใหม่ คือ “ระนาบ (plane)”
Element of Design เมือ่ ระนาบถูกเชื่อมติดกันจะทำาให้ เกิดมโนภาพของมิติ จนกระทัง่ เกิดเป็ นรู ปทรง
Element of Design จุดในแง่ มุมของการสร้ างสรรค์ งานศิลปะ
Element of Design จุดทีม่ ขี นาดและค่ าน้ำ าหนักทีแ่ ตกต่ างกัน
Element of Design
Line = เส้ น ........................................................................................
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Principle of Design II Composition of Art
Composition of Art Visual Elements • • • • • • • •
Dot, Point Line Plane Shape & Form Values Color Space Texture
Principle of Design Visible Appearances -
Repetition (การซ้ำ า) Rhythm (จังหวะ) Harmony (ความกลมกลืน) Balance (ดุลยภาพ) Contrast (ความขัดแย้ ง) Vibration and Detail (รายละเอียดและการสร้ างจุดสนใจ) Dominance (จุดเด่ น) Unity (เอกภาพ)
* Generally due to visual effect
* โดยทัว่ ไปจะข้ องเกีย่ วกับผลทางการมอง
Principle of Design Invisible Appearances - Content (เนือ้ หา) - Concept (แนวความคิด) **Due to feeling and perception
Principle of Design : Visible Appearance Repetition (การซ้ำ า)
Principle of Design : Visible Appearance Rhythm (จังหวะ)
Principle of Design : Visible Appearance Unity and Harmony (เอกภาพและความกลมกลืน)
Principle of Design : Visible Appearance Harmony of Forms
Harmony of Forms and Values
Principle of Design : Visible Appearance Balance (ดุลยภาพ) Symmetry Balance (ดุลยภาพแบบสมมาตร)
Asymmetry Balance (ดุลยภาพแบบไม่ สมมาตร)
Principle of Design : Visible Appearance • Contrast (ความขัดแย้ง)
Principle of Design : Visible Appearance Contrasting of Values
Principle of Design : Visible Appearance Contrasting of Forms and Values
Principle of Design : Visible Appearance Harmonious structure with contrasting of forms and values
Principle of Design : Visible Appearance Dominance : Vibration and Detail
Principle of Design : Visible Appearance Dominance : Texture and Detail
Principle of Design : Visible Appearance Dominance : Texture and Detail
Principle of Design : Visible Appearance Dominance : Texture and Detail
Principle of Design : Visible Appearance Dominance : Texture and Detail
Principle of Design : Visible Appearance Dominance : Texture and Detail
Principle of Design : Visible Appearance Dominance : Texture and Detail
Principle of Design : Visible Appearance Dominance : Texture and Detail
Texture
Texture สามารถสร้างสรรค์ให้เกิดความเข้าใจในสภาวะทางกายภาพของวัตถุและนำาไปสู่ การกระตุน้ ให้
เกิดความรู้สึกได้ เช่น ขรุ ขระ-เรี ยบ-มันวาว อ่อน-แข็ง-นุ่ม-หยาบ ฯลฯ ในทางเทคนิคการสร้างสรรค์ ผลงานศิลปกรรม อาจแบ่งออกได้เป็ น 2 รู ปแบบ คือ
1. Texture ที่ถกู สร้างขึ้นจากการลอกเลียนแบบ เราอาจเรี ยกอีกอย่างว่า Pattern หรื อลวดลาย 2. Texture ที่นาำ Ready made Materiel หรื อ วัสดุจริ งมาติดลงบนตัวงานและ สร้างให้เกิดความกลมกลืนด้วยกรรมวิธีต่างๆ
Texture ที่ถกู สร้างขึ้นจากการลอกเลียนแบบ เราอาจเรี ยกอีกอย่างว่า Pattern หรื อลวดลาย
Texture ที่นาำ Ready made Materiel หรื อ วัสดุจริ งมาติดลงบนตัว งานและสร้างให้เกิดความกลมกลืนด้วยกรรมวิธีต่างๆ
Collage หรือการปะติด
การ Collage ในทางเทคนิคการสร้ างสรรค์ ผลงานจิตรกรรม ให้ ผลใน การสร้ างแรงจูงใจได้ บางครั้งมากกว่าการระบายสี
Principle of Design Theory of Colors
Elements of Art : Colors Color Wheel
Theory of Color : Value of Color
Theory of Color : Value of Color Value refers to the lightness and darkness of a color. For example, if light falls on a green ball the part of the ball nearest the light will be lightest in value because i t reflects the most light. The part of the ball opposite the light will be the deepest in the shadow and thus darkest in value. Remember - you can also change the value of a color by adding black (shade), or white (tint), or gray (tone). As white is added to a color it becomes "higher" in valu e (lighter). As black is added it becomes "lower" in value (darker).
Theory of Color : Color Schemes Monochromatic - One color. A monochromatic color scheme uses only one hue (color) and all values (shades or tints) of it for a unifyin g and harmonious effect.
Remember that value is the relationship of light to dark.
Theory of Color : Analogous Analogous - colors that contain a common hue and are found next to each other on the color wheel, e.g., violet, red-violet, and red crea te a sense of harmony. Remember adjoining colors on the wheel ar e similar and tend to blend together. They are effective at showing d epth.
Theory of Color : Color Tonality
Cool Tone
Warm Tone
Warm colors - suggest warmth and seem to move toward the viewer and appear closer, e.g., red and orange are the colors of fire. Remember that warm colors appear larger than cool colors.
Remember that warm colors appear larger than cool colors.
Henri de Toulouse-Lautrec - The Kiss - 1892
Cool colors - suggest coolness and seem to recede from a viewer and fall back, e.g., blue and green are the colors of water and trees).
Vincent Van Gogh - Starry Night - 1889
Know that the color wheel is simply a guide on how colors relate to one another, it is by n o means a formula for making successful art.
Complementary Color Complementary - two colors opposite one another on the color wheel, e.g., blue and orange, yellow and purple, red and green. Wh en a pair of high intensity complements are placed side by side, the y seem to vibrate and draw attention to the element Not all color sch emes, based on complementary colors are loud and demanding -- if the hues are of low-intensity the contrast is not too harsh. Intensity c an only be altered by mixing a color with its complement, which has the effect of visually neutralizing the color. Changing the values of th e hues, adding black or white, will soften the effect.
Color Intensity Intensity - brightness or dullness of a color. A pure hue is a high-intensity color. A dulled hue, a color mixed with its complement is called a lowintensity color.
high-intensity
low-intensity
Triad - a color triad is composed of three colors spaced an equal distance apart on the color wheel. The contrast between triad color s is not as strong as that between complements.
Primary - red, yellow, and blue
Piet Mondrian, Composition with Red, Yellow and Blue -1921
Secondary - by mixing two primary colors, you create a secondary color. Red + yellow =orange Yellow + blue = green and Blue + red = purple (violet)
Intermediate - colors are created by mixing a primary and a secondary: Red-orange, yellow-orange, yellow-gre en, blue-green, blue-purple, and red-purple.
Henri Matisse - Le bonheur de vivre (The Joy of Life) 1905-06
Split complements - the combination of one hue plus the hues on each side of its complement. This is easier to work with than a straig ht complementary scheme. It offers more variety, e.g., red-orange, b lue, and green.
Frederick Carl Frieseke - Through the Vines - 1908
Double complementary - two adjacent hues and their opposites. it uses four colors arranged into two complementary color pairs. This scheme is hard to harmonize; if all four colors are used in equal am ounts, the scheme may look unbalanced, so you should choose a c olor to be dominant or subdue the colors.
Claude Monet - Houses of Parliament, London, Sun Breaking Through Fog -1904
Compositional effects of color •
Spatial effects - Such as, hues that are lighter at maximum saturation (yellows, oranges) appear larger than those that are dark er at maximum saturation (e.g., blues and purples). • When a color expands visually, it may also seem closer to the viewer than those that seem to contract, leading to the common stat ement that warm colors appear closer and cool colors fall back.
Color Breaking Artists can bring any color forward or push it back, depending on what other spatial tricks they use. In addition, a large shape or form appears to be heavier than a small shape. Several small shapes or f orms can balance on large one.
Vibration of Colors Remember that saturation is the relative brilliance or vibrancy of a color. The more saturated a color, the less black it contains
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Use highly saturated or high-intensity colors (a pure hue with no other colors mixed in) or busily detailed areas to draw attention and ther efore give the appearance of carrying more weight than less saturated, l ow-intensity or visually simpler areas.
Process of Creation Of course we have to begin our creative work on sources but not at all an “ imitation �.
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Make the structure of composition
Contemplate the color tone
Embody the work on the selected tone by primary, secondary colors, Analogous colors or etc.
Embody the work on the selected tone by primary, secondary colors, Analogous colors or etc.
Paint selected areas with some complementary colors to get viewer attention by the color high-intensity effect. (do accordingly to the theory of colors)
Paint selected areas with some complementary colors to get viewer attention by the color high-intensity effect. (do accordingly to the theory of colors)
Give finishing by adding some details.
Give finishing by adding some details.