Introduction

Welcome to AVI1O: Visual Arts, Grade 9, Open.

This course provides an overview of the visual arts and is a foundation for further study.

The first thing you’ll do in this course is to learn about art’s basic building blocks. These are called the elements of art and principles of design. Once you know what these are and how they work together, you’ll be able to analyze the work of other artists and use the elements and principles in making your own art.

Art comes in many forms, and is continually changing and evolving with the society around it. You’ll see and develop some basic skills and techniques in a variety of forms, including drawing, painting, printmaking, graphic design, collage, mosaic, mixed media, and three-dimensional art. You’ll learn how to use symbolism and choose materials that add meaning to your work.

By the end of the course, you will have made a number of artworks, becoming familiar with a range of forms, materials, media, processes, techniques, and styles.

What you will learn

After completing this lesson, you will be able to:

• identify the elements of art and principles of design, and understand their characteristics
• identify the elements of art and principles of design used in various artworks and describe their effects
• use the elements of art and principles of design to create a work of art that communicates emotion

Supplies

You’ll be doing artwork in every lesson, and will need a sketchbook right from the start. Below is an overview of the required art supplies you will need for Lessons 1–5.

• a sketchbook
• fine-tip black marker
• coloured pencils
• drawing pencils (HB and 2B)

Be sure to make your own set of notes as you work your way through the lessons. You will need these notes to study for your final exam.

Let’s get started!

Acknowledgements (Opens in new window)

The elements of art

The elements of art are the basic building blocks of art. They are what artists use to create artworks. This section of the lesson will introduce you to the following elements of art:

• line
• shape
• form
• space
• texture
• value
• colour

Next, you’ll see works of art and abstract designs that illustrate each of these elements.

Line

Line may be a continuous mark made on a surface with a pointed tool or implied by the edges of shapes and forms. Line can be used to define shape and outlines, and also to suggest volume and depth.

A variety of lines can be used.

Here are characteristics of line:

• Length—long, short, segmented
• Density—light or dark
• Width—thick, thin, tapering, uneven
• Direction—horizontal, vertical, diagonal, curving, parallel, radial, zigzag
• Focus—sharp, blurry, fuzzy, choppy, solid, textured
• Expression—sharp, jagged, graceful, smooth, aggressive

Lines can also be used to express various emotions such as:

Lines in artwork

Look at the variety of lines/characteristics of line used in this artwork.

What characteristics of line are present that express the emotion “anger”?

Look at the variety of lines/characteristics of line used in this artwork.

What characteristics of line are present that express a “peaceful” emotion?

Look at the variety of lines/characteristics of line used in this artwork.

What characteristics of line are present that express a “joyous” emotion?

Practice with lines

In your sketchbook, draw three boxes of about 5cm x 5cm. Label the boxes a), b), and c).

Create abstract designs to express the following moods:

1. angry
2. joyous
3. peaceful

Here are some examples that you can reference before creating your sketchbook designs.

Shape

When a line crosses itself or intersects with other lines to enclose a space, it creates a shape.

Shape is two-dimensional. It has height and width, but no depth. You can see shape because of other elements such as line, colour, space, and form.

There are two main categories of shape:

Geometric shapes—Circles, squares, rectangles, and triangles. You see them in mathematical applications, architecture, and manufactured items with straight edges.

Organic shapes—Leaves, seashells, and flowers. You see them in nature; they are free-flowing, informal, and irregular.

These two images represent the two categories of shape: geometric and organic. Study the images while taking note of the reflection questions.

Reflection questions:

• Why do you think the image of wheels, spokes, plugs, and gears is called geometric?
• Are you able to see/understand why each shape could be named circle, triangle, square etc.?
• Why do you think blossoms are not geometric forms, but more naturally occurring shapes?
• How is shape different from form?
• If shape is two-dimensional, then what must form be?

In your sketchbook, draw two boxes of about 5cm × 5cm. Label the boxes a) and b).

1. Create an abstract design of a geometric shape (i.e. Mondrian).
2. Create an abstract design of an organic shape (i.e. Miro).

Form

Form is the three-dimensional aspect of an object. Form has height, width, and depth.

Shape is two-dimensional (height and width), whereas form is three-dimensional (height, width, and depth). You can hold a form or walk around a form. Like shapes, forms can be geometric or organic.

In drawing or painting, an artist can create the illusion of form with shadows. Shading a circle in a certain manner can make it appear to be a sphere.

The illusion of form can also be created with the use of line to show the perspective or depth of the object, such as a cube.

For example, in this artwork, lines, shading, and colour are used to show perspective, creating the illusion of depth.

Practice with form

In your sketchbook, make a box about 10cm × 10cm. In it, draw one geometric form (such as circles, squares, rectangles, etc.) and one organic form (such as leaves, nuts, seeds, etc.). Label your forms. When you have finished, check your work by comparing it to the following examples:

Space

Space is the area between, around, above, below, or within things. It also refers to the area in which the artwork exists.

For drawings and paintings, the goal is to create the illusion of space.

Here are some techniques that are used to create the illusion of space.

By understanding how to combine these techniques in a work of art you can create a composition that simulates more space and depth.

Space also refers to the positive and negative space in an artwork.

Positive space is space occupied by the actual form or subject of a composition.

Negative space is the space around the form or subject.

In this image, the artist has created a dramatic image by working with positive and negative space. Negative space is shown in white and positive space is shown in black.

In your sketchbook, draw two boxes of about 5cm × 5cm. Make a sketch of the same large geometric shape in the middle of each box.

• Fill in the shape as positive space.
• Fill in the shape as negative space.

Here are some examples you can refer to before beginning your sketchbook drawings.

Texture

Texture is the surface quality of an object. It is the element of art that appeals to your sense of touch. A rock may be rough and jagged. A piece of silk may be soft and smooth. When you look at an object, you see the surface patterns of light and shadow that communicate to you how these objects feel.

There are two main categories of texture:

Real texture is the actual texture of an object. Artists may create real texture in art to give it visual interest or evoke a feeling. A piece of pottery may have a rough texture or sculpture made of marble may be smooth and polished. Painters will sometimes incorporate objects into their paintings to appeal to your sense of touch.

Implied texture is created on a two-dimensional surface (paper or canvas) by reproducing the pattern of the desired texture. For example, if drawing a tree trunk, you could make it look rough by creating the light-and-shadow pattern of bark; in fact the actual texture of your picture plane is a smooth piece of paper. When you draw implied texture, you’re creating an optical illusion!

Practice with texture

Look at the following two artworks. Which one is “real texture” and which is “implied texture”?

Does this artwork use “real texture” or “implied texture”? Label it in the space provided.

Does this artwork use “real texture” or “implied texture”? Label it in the space provided.

Artists use a number of techniques to create the illusion of different textures. The key to creating the illusion of texture is through shading.

Look at these two details of drawings of animal fur. Which fur appears to be soft? Which appears to be coarse?

As you can see, rough textures have more contrast than smooth textures. In addition, rough textures use line and contrasting value to show more surface detail.

Smooth textures, on the other hand, require more blending and have less surface detail.

Examples of texture

Here are some more examples of texture that you can reference.

In your sketchbook, draw two boxes of about 5cm × 5cm.

• Draw a rough texture.
• Draw a smooth texture.

Value

Value is the range of lightness and darkness in an artwork. Value helps create depth within a picture by making an object look three-dimensional, with highlights and shadows.

When using a graphite pencil or charcoal, you can create value in grey tones.

Value also refers to the lightness or darkness of a colour.

Value in grey tones

Value also refers to the lightness or darkness of a colour.

The following terms are useful when discussing value:

• Highlights are very light values that show where the light hitting the object is strongest.
• Shadows are dark values showing where no light is reaching the object.
• High-key refers to a picture that has mainly light values.
• Low-key refers to a picture that has mainly dark values.
• Value contrast occurs when light values are placed next to dark values to create contrast or strong differences.
• Value scale is a scale that shows the gradual change in value from the lightest value, white, to the darkest value, black.

Take a look at the following video clip from the video “Value” to see what a value scale is.

Look at the diagram to see the different tints and shades on the value scale and how and where they are used in the image to create the illusion of form.

Practice with value

In your sketchbook, draw a value scale like the example provided here. Label the three middle boxes: medium-light, medium, and medium-dark.

Colour

Colour comes from light; without light you would not see colour. Light rays move in a straight path from a light source. Within a light ray are all the colours in the spectrum or rainbow.

Artists use pigments in the form of powder or liquid paints to create colour.

Later in the course, you will learn how to mix colours and control their properties.

For now, you will explore using colour to communicate a mood or express emotions.

Colour has huge impact on the viewer. The mood or emotional response to the work is mainly communicated by the colour.

Look at the difference colour can make.

Practice with colour

In your sketchbook, draw three boxes of about 5cm × 5cm.

• Create a design with exciting colours.
• Create a design with disturbing colours.
• Create a design with calm colours.

The principles of design

The principles of design are ways to organize or arrange the elements in a work of art. The arrangement of elements affects how the viewer sees and engages with the artwork. The next section of the lesson will introduce you to the following principles of design:

• balance
• rhythm and movement
• emphasis
• unity
• variety

Next, you’ll see works of art and abstract designs that illustrate each of these princlples.

Balance

Balance is the principle of design concerned with visually equalizing the elements in a work of art. Looking at a balanced artwork, the viewer feels that the elements have been arranged harmoniously. When the viewer senses that something is missing or out of place in the work, then it is likely not balanced.

There are three types of balance:

Practice with balance

Identify whether the image has symmetrical balance, asymmetrical balance, or radial balance.

Identify whether the image has symmetrical balance, asymmetrical balance, or radial balance.

Identify whether the image has symmetrical balance, asymmetrical balance, or radial balance.

In your sketchbook, draw three boxes of about 5cm × 5cm.

Label them a), b), and c).

1. Use shape to create an example of symmetry/balance.
2. Use form to create an example of asymmetry.
3. Use line to create an example of radial symmetry.

Emphasis

When one element is emphasized, it dominates or stands out from the rest of the composition. In most compositions, the emphasis can also be called the focal point (what attracts the viewer’s eye). It’s often the core or the centre of the picture, a place that attracts the eye, or an element that stands out in the composition.

Emphasis can be achieved by using the elements to direct the viewer’s eye, and/or in contrasting colour, shape, and/or size.

Look at the following artwork:

• What is being emphasized?
• How did the artist add this emphasis?
• What effect does it create?

The artist emphasized the gold coins in this work by positioning them in the foreground, having the koi point towards them, and by highlighting them with colour and light.

The composition makes you focus on the coins:

• What are they doing there?
• What do they mean?

Emphasizing them gives the artwork a feeling of mystery.

Emphasis can be achieved by:

• Using a strong value or colour
• Creating a meeting point of lines
• Adding an intriguing shape or texture
• Adding a large-scale object
• Leaving negative space

How did the artist add emphasis in each of the artworks that follow?

Practice with emphasis

In your sketchbook, draw two boxes of about 5cm × 5cm. Label them a) and b).

1. Use colour to create emphasis.
2. Use shape to create emphasis.

To check your work, take a look at the examples that follow.

Rhythm and movement

To create the look and feel of movement in visual art you can repeat elements at regular or random intervals.

Repeated elements create visual rhythm and eye movement, just as repeated musical notes create a beat.

Visual rhythm—experienced through your eyes as opposed to your ears—creates a mood for the artwork according to how fast or slow the repetition occurs and the way the viewer’s eye moves through the work.

Visual rhythm

There are four types of visual rhythm.

Regular—uses a set pattern of repetition to create a steady rhythm. An example could be the pattern of bricks on a wall.

Random—a repeated pattern that has no particular order of occurrence; for example, the scattering of pebbles on a beach or falling snow.

Alternating—a regular rhythm that combines two patterns at alternating intervals. An example could be the red and black squares on a checkerboard.

Progressive—a rhythm that changes gradually, such as a series of rectangles that get slightly smaller, transforming in a steady sequence.

Practice with rhythm

In your sketchbook, draw four boxes of about 5cm × 5cm.

Label them a), b), c), and d).

1. Draw an example of regular rhythm.
2. Draw an example of random rhythm.
3. Draw an example of alternating rhythm.
4. Draw an example of progressive rhythm.

Take a look at the possible examples provided.

Unity

Unity is the principle that makes the parts work together to create an effective “whole.”

Unity in art is like harmony in music or teamwork in sports. Every part works together to make the whole better. In a unified composition, the elements all look like they belong together. The artwork has a sense of wholeness or completion.

Unity can be acheived through the following means:

Similarity

Use of similar shapes, colours, line, or textures, rendered in a similar style. Repetition of similar shapes, colours, line, or textures.

Placement

Proximity or the closeness of objects—elements grouped or placed close together; the feeling that the elements belong together, that they make sense as a whole.

Continuity

A continuous flow or continuation of an element leading the eye through a composition.

Examples of unity

In this artwork, how does the artist use the elements of design to pull the violin together?

Even though there is a sense of movement or vibration that wants to pull the instrument apart, the use of similar colours, shapes, and line throughout pull the fractured violin together, unifying this painting.

To create unity, artists may use similar lines, shapes, colours, or textures to tie the elements of the work together.

Have a look at the following artwork. Does it have unity? Do all the parts work together or is there anything that looks like it doesn’t belong?

Did you notice the distorted skull in the foreground of the painting?

The artist has rendered most of the elements in the composition in a realistic representation but has included a skull in the foreground that is distorted and disproportionate. The skull looks as though it has been dropped into the painting, almost like it was “photoshopped” into it by accident. And, if you look really carefully, in the top left-hand corner of the painting, peaking out from behind the curtain is a crucifix. It also seems oddly placed in the painting. In this instance, the artist is playing with unity and uses it to convey meaning.

How about this painting? Does it have unity?

If you answered “yes” then, you’re right!

The elements in the painting are rendered in a similar artistic style. The artist has used similar lines, shapes, colours, or textures.

There is a continuous flow leading the eye through the composition.

What about this artwork? Does it have unity? How?

Provide your answer below.

In your sketchbook, draw one box of about 10cm × 10cm.

Draw similar shapes, grouped together to create unity.

Variety

Variety is about creating different areas of interest in an artwork.

The principle of variety has to do with differences in the elements. Whereas unity encourages similarities, variety encourages differences. Variety creates visual interest in the work.

An artist could use a variety of different elements, or one element in varied ways. For example, a work may contain only line, but that line may be variously thick, thin, short, long, wavy, and straight.

To create variety, artists use elements that are different or contrasting. These can be contrasting values, contrasting colours, and/or different shapes, textures, patterns, proportions, quantities, and levels of detail.

Look at the following artwork and list some of the ways in which variety was used.

How was variety used in this poster?

Practice with variety

In your sketchbook, draw two boxes of about 5cm × 5cm. Label them a) and b).

1. Create a variety of lines.
2. Create a variety of textures.

Musical abstracts

The history of art has been dominated by artists’ search for truth. At the turn of the twentieth century, a number of artists sought truth in pure colour, line, texture, shape, form, and space.

In other words, the elements of design became the actual subject of the painting. This type of art, with no representation of a subject, became known as abstract art.

Many abstract artists found inspiration in music. Music without lyrics is a very abstract form of communication. Artists who were also musicians began to make connections between music and visual art, forming a strong bond that still exists today.

Scientific research teaches us that the human brain always tries to associate information provided by the various senses. For example, your brain likes to bring together what it sees and what it hears. Much of the media today—think of music videos or commercials—rely on this human tendency.

Wassily Kandinsky (1866–1944) is credited as the father of abstract art. Born in Russia, he trained and painted in Munich, and later in Paris.

Most of Kandinsky’s abstract works have musical titles, such as Composition V, Improvisation II, and Symphony IV. His approach to abstraction is very expressive; he uses line, shape, and colour to communicate emotion.

Another artist inspired by music was Piet Mondrian (1872–1944).

Mondrian painted at about the same time as Kandinsky, using a much more geometric style. His approach to abstraction is formal and organized. The painting Broadway Boogie Woogie sets up a visual rhythm that the eye follows; this movement is similar to the musical beat of the jazz that inspired the painting.

Bertram Brooker (1888–1955) was a British-born artist who moved to Canada at age 17.

Brooker’s approach to musical abstraction is different: he represents sounds as solid forms that exist in a space.

Brooker was a respected musician, writer, poet, and painter. He worked in Toronto, and received the Governor General’s Award for fiction in 1936.

The relationship between sound and image was not lost on early filmmakers. Some artists tried to experiment with the new medium of film to create abstract work in much the same way as painters had before them. Canada’s reputation as a world leader in animation can largely be attributed to the National Film Board of Canada (NFB), which encouraged an experimental approach.

Norman McLaren (1914–1987) worked for the National Film Board of Canada from roughly 1940 to 1960. In Montreal during this time, jazz was very popular, and McLaren was a jazz musician as well as a filmmaker. In the abstract animation titled “Begone Dull Care,” Norman McLaren and Evelyn Lambart bring together jazz, animation, and abstraction. If you are interested in seeing what they came up with, have a look at a film clip from “Begone Dull Care” from the NFB.

Musical abstract activity

Select a piece of instrumental music, and listen to it all the way through.

Start the music again. Using a black marker in your sketchbook, create a purely abstract representation of the music. Use only lines and shapes. Follow the beat, rhythm, and emotion with your line. Are there certain sounds that could be grouped in a pattern? Are there any sounds that could be represented by shapes? Create a large doodle, placing the lines and shapes in an interesting way. Go with the flow and try to feel the music.

Once you’ve finished, listen to the music again, adding colour with coloured pencils. Are there some areas where the colour is bright and solid, and others where it is soft and transparent? Try to communicate the mood by choosing appropriate colours.

Art reflection

Reflect on your drawing. Describe the mood of the musical piece you chose. Look at the abstract composition you have created while listening to the music. Describe the lines, colours, and shapes you have used. Do you think there are similarities between what the music and the drawing are communicating? Provide your response in the space that follows.

Congratulations! You have created your first artwork for this course.

Conclusion

You’ve had an introduction to the elements of art and principles of design and explored how they are used to communicate and express emotion. The musical abstract exercise helped to inspire your creativity, connecting music with the elements of art and principles of design. Now you’re ready to move on to Lesson 2!