foundation of visual design

Foundation of Visual Art DesignFoundation of Visual Art Design

Element of DesignElement of Design

Visual Elements• Dot, Point• Line• Plane• Shape & Form• Values• Color• Space• Texture

Principle of Design

Visible Appearances- Repetition (การซำ�า)- Rhythm (จงหวะ)- Harmony (ความกลมกลน)- Balance (ดลยภาพ)- Contrast (ความขดแยง)- Vibration and Detail (รายละเอยดและการสรางจดสนใจ)- Dominance (จดเดน)- Unity (เอกภาพ) * Generally due to visual effect * โดยทวไปจะของเกยวกบผลทางการมอง


Visual Element หนวยทเลกทสด คอ . (จด)

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Element of DesignElement of Designเมอนำาจดเรยงตวกนจะเกด Visual Element ใหม คอ เสน “ ” . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Element of DesignElement of Designเมอนำาเสนเรยงตวกนจะเกด Visual

Element ใหม คอ ระนาบ “ (plane)”

Element of DesignElement of Design เมอระนาบถกเชอมตดกนจะทำาใหเกดมโนภาพของมต

จนกระทงเกดเปนรปทรง

Element of DesignElement of Designจดในแงมมของการสรางสรรคงานศลปะ

Element of DesignElement of Designจดทมขนาดและคานำ�าหนกทแตกตางกน


Line = เสน........................................................................................

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Principle of Design IIComposition of Art

Composition of ArtVisual Elements• Dot, Point• Line• Plane• Shape & Form• Values• Color• Space• Texture

Principle of DesignVisible Appearances- Repetition (การซำ�า)- Rhythm (จงหวะ)- Harmony (ความกลมกลน)- Balance (ดลยภาพ)- Contrast (ความขดแยง)- Vibration and Detail (รายละเอยดและการสรางจด

สนใจ)- Dominance (จดเดน)- Unity (เอกภาพ) * Generally due to visual effect * โดยทวไปจะของเกยวกบผลทางการมอง

Principle of DesignInvisible Appearances- Content (เน�อหา)- Concept (แนวความคด)

**Due to feeling and perception

Principle of Design : Visible Appearance Repetition (การซำ�า)

Principle of Design : Visible Appearance

Rhythm (จงหวะ)

Principle of Design : Visible Appearance Unity and Harmony (เอกภาพและความกลมกลน)

Principle of Design : Visible Appearance Harmony of Forms Harmony of Forms and Values


Balance (ดลยภาพ) Symmetry Balance (ดลยภาพแบบสมมาตร) Asymmetry Balance (ดลยภาพ

แบบไมสมมาตร)


• Contrast (ความขดแยง)

Principle of Design : Visible AppearanceContrasting of Values

Principle of Design : Visible AppearanceContrasting of Forms and Values

Principle of Design : Visible AppearanceHarmonious structure with contrasting of forms and values

Principle of Design : Visible AppearanceDominance : Vibration and Detail

Principle of Design : Visible AppearanceDominance : Texture and Detail

TextureTexture

Texture สามารถสรางสรรคใหเกดความเขาใจในสภาวะทางกายภาพของวตถและนำาไปสการกระตนใหเกดความรสกได เชน ขรขระ-เรยบ-มนวาว ออน-แขง-นม-หยาบ ฯลฯ ในทางเทคนคการสรางสรรคผลงานศลปกรรม อาจแบงออกไดเปน 2 รปแบบ คอ

1.Texture ทถกสรางขนจากการลอกเลยนแบบ เราอาจเรยกอกอยางวา Pattern หรอลวดลาย

2.Texture ทนำา Ready made Materiel หรอ วสดจรงมาตดลงบนตวงานและสรางใหเกดความกลมกลนดวยกรรมวธตางๆ

Texture ทถกสรางขนจากการลอกเลยนแบบ เราอาจเรยกอกอยางวา Pattern หรอลวดลาย

Texture ทนำา Ready made Materiel หรอ วสดจรงมาตดลงบนตวงานและสรางใหเกดความกลมกลนดวยกรรมวธตางๆ

Collage หรอการปะตด

การ Collage ในทางเทคนคการสรางสรรคผลงานจตรกรรม ใหผลในการสรางแรงจงใจได บางคร�งมากกวาการระบายส

Principle of DesignTheory 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 val ue because it reflects the most light. The part of the ball opposite the light wil

l 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 value (lighter). As black is added it becomes "lower" in value (darker).

Theory of Color : Color SchemesMonochromatic - One color. A monochromatic color scheme uses only one hue (color) and all values (shades or tints) of it for a unifying and harmonious effect.

Remember that value is the relationship of light to dark.

Theory of Color : AnalogousAnalogous - colors that contain a common hue and are found next to each other on the color wheel, e.g., violet, red-violet, and red create a sense of harmony. Remember adjoining colors on the wheel are similar and tend to blend together. They are effective at showing depth.

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 no means a formula for making successful art.

Complementary ColorComplementary - two colors opposite one another on the color wheel, e.g., blue and orange, yellow and purple, red and green. When a pair of high intensity complements are placed side by side, they seem to vibrate and draw attention to the element Not all color schemes, based on complementary colors are loud and demanding -- if the hues are of low-intensity the contrast is not too harsh. Intensity can only be altered by mixing a color with its complement, which has the effect of visually neutralizing the color. Changing the values of the hues, adding black or white, will soften the effect.

Color IntensityIntensity - 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 low-intensity 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 colors 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 =orangeYellow + blue = greenand Blue + red = purple (violet)

Intermediate - colors are created by mixing a primary and a secondary: Red-orange, yellow-orange, yellow-green, 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 straight complementary scheme. It offers more variety, e.g., red-orange, blue, 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 amounts, the scheme may look unbalanced, so you should choose a color 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 darker 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 statement 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 forms can balance on large one.

Vibration of ColorsRemember that saturation is the relative brilliance or vibrancy of a

color. The more saturated a color, the less black it contains.

Use highly saturated or high-intensity colors (a pure hue with no other colors mixed in) or busily detailed areas to draw attention and therefore give the appearance of carrying more weight than less saturated, low-intensity or visually simpler areas.

Process of CreationOf course we have to begin our creative work on sources but not at all an “ imitation ”.“ imitation ”.

• Make the structure of composition

Contemplate the color tone

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)

Give finishing by adding some details.

foundation of visual design

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