4. The Problem We All Live With
by Norman Rockwell, 1964
• The horizontal lines of the work imply stability of subject
• The shallow, cropped space makes the subject matter more intense
and immediate
• The value contrast of the clean white dress with the textured, dirty
wall helps convey her innocence and purity
• The strength of the girl is conveyed by her stable, triangular shape
• The little girl is the focal point of the work created by the high
contrast and the framing created by the cropped, figures on the sides
• the asymmetry of the composition pulls the little girl and our eye
forward conveying the concept that the country is moving forward
• the artist has made the viewer complicit with the racist protestors
by making us share their point-of-view (carries further the title of the
painting)
5. The elements of design
• Line
• Shape (mass)
• Value (light)
• Color
• Texture
• Space
6. Line
• points or dots following a path
• types= straight, curved, zigzag
• actual vs implied lines
• directional forces
• expressive qualities
29. Shape & Mass
• shape= 2d area with definable boundary, has height
and width
• mass= 3d area with definable boundary, has height,
width, and depth
• actual vs implied
• geometric, curvilinear, rectilinear, biomorphic
• figure/ ground relationship
• planar construction
41. How shape and mass
are used in art
constructing with planes
42. Value as element
• value = the varied lights and darks
reflecting off a surface
• also known as “tones”, or “tonal variation”
• value gradation
• chiaroscuro = italian for Light/dark
• mostly relates to realism but not
necessarily
47. chiaroscuro
• The traditional term for the effects of light and dark in art
• Chiaro= light, scuro = dark
• Developed during Renaissance
• Usually involves soft, subtle value changes
• described the particular parts of light and shadow (highlight, core shadow,
reflected light, cast shadow)
highlight
core shadow
reflected light
cast shadow
49. Light
• the quality and direction of light as it is
shown on a sculpture or in a room
• an actual light fixture or effect as part of an
art , often neon
56. Color
• effect of light rays and interaction with eyes/brain
• additive vs subtractive color
• aspects of color = hue, value, intensity or
saturation
• color wheel
• color schemes
58. additive vs subtractive
color mixing
additive= mixing light subtractive= mixing
pigments(adding light so light gets lighter)
(subtracting light so light gets darker)
59. Aspects of subtractive
color
• Hue= name of color (red, green, violet, etc)
• Value= darkness and lightness of color (light red,
dark blue, etc)
• Saturation or intensity= the brightness and
dullness of the color (bright pink, dull orange)
• when painters mix paint they control the hue,
value, and saturation
61. Color Schemes
• common combinations of colors that help unify an
image
• monochromatic= one hue with different values
• complementary= two hues (and their values)
directly across from each other on color wheel
• analogous= 3 or 4 hues adjacent to each other on
color wheel
74. Space
• actual space in sculpture, installation, and
architecture
• illusionistic space in 2d art (foreground, middle
ground, background)
• simple use of overlapping and relative size
• linear perspective, one-point, two-point or more
• atmospheric perspective
• foreshortening
78. Illusionistic space
early depiction of space used overlap, differences in sizes, and the
idea that objects lower on picture plane seem closer to viewer
79. One-Point Perspectivewhen the face or front plane is parallel with picture plane, creates
one vanishing point on the horizon line (where sky and earth meet,
eye level)
87. Atmospheric
Perspective
illusion of depth created by value, color, or
texture gradients, a darker or warmer or
more textured color comes forward while
cooler, lighter, and smoother goes back
