1. THE VISUAL ELEMENTS OF AN IMAGE

3. LOOK CAREFULLY AT NEXT PICTURE AND DESCRIBE THE ELEMENTS THAT YOU CAN SEE IN IT

5. Write and draw in your paper the elements that you can see

7. I can see a spider

8. I can see a face

9. A bird ¿

10. He´s crying

11. There are a lot of stars

13. There are many things in a picture

15. But…

17. We are looking for the essential elements

18. The smallest visual elements on plastic work

19. Look for the essential elements

21. Try it again. Just the essential elements¡

26. WHAT ARE THESE ?

28. A DOT

29. A LINE

30. A PLANE

33. THE VISUAL ELEMENTS OF AN IMAGE

34. THE VISUAL ELEMENTS OF AN IMAGE DOT

35. THE VISUAL ELEMENTS OF AN IMAGE LINE DOT

36. THE VISUAL ELEMENTS OF AN IMAGE LINE  DOT

37. THE VISUAL ELEMENTS LINE  DOT

38. THE VISUAL ELEMENTS LINE  But there are two other missing visual elements DOT

39. But there are two other missing visual elements

40. But there are two other missing visual elements Can you imagine ¿

42. Look at the screen

54. The fourth element is the…

55. COLOUR COLOUR

57. And the last element in an image is…

58. And the last element in an image is… Look at the screen

68. TEXTURE

70. THE VISUAL ELEMENTS

71. THE VISUAL ELEMENTS DOT

72. THE VISUAL ELEMENTS LINE DOT

73. THE VISUAL ELEMENTS LINE  DOT

74. THE VISUAL ELEMENTS LINE   DOT

75. THE VISUAL ELEMENTS LINE    DOT

77. BASIC ELEMENTS OF PLASTIC EXPRESSIONS

78. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture.

79. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture. These elements, isolated or combined, are a language in itself with specific rules. They allow the author to transmit to other people ideas, sensations or feelings.

80. BASIC ELEMENTS OF PLASTIC EXPRESSIONS All the images that we see represented are made of the basic elements of plastic expression: the dot, the line, the plane, the colour and texture. These elements, isolated or combined, are a language in itself with specific rules. They allow the author to transmit to other people ideas, sensations or feelings. It is important to study the characteristic and fundamental rules of the plastic elements in order to express effectively our own plastic language.

83. THE DOT

84. THE DOT The dot is the smallest, simplest element in visual expression.

86. Dots are normally round, but they can have different shapes according to their function. Dots used in visual expression can have irregular surface and outline.

89. A shape is a dot when it takes a very small part of the surface where we draw.

91. If it is bigger than other shapes around, we consider it a plane.

92. If it is bigger than other shapes around, we consider it a plane.

93. If it is bigger than other shapes around, we consider it a plane. A dot

94. If it is bigger than other shapes around, we consider it a plane. A dot A plane

96. Expressive capacity of the dot

97. Expressive capacity of the dot

98. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions.

99. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

100. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

101. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

102. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

103. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

104. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

105. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like :

106. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped

107. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped

108. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped

109. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped

110. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped

111. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped

112. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped

113. Expressive capacity of the dot Dots have an unlimited capacity to represent images, ideas and emotions. For this reason, we use different visual effects like : concentration = dots are grouped dispersion = dots are at a distance

114. Expressive capacity of the dot

115. Expressive capacity of the dot

116. Expressive capacity of the dot Line made with dots

117. Expressive capacity of the dot concentration Line made with dots

118. Expressive capacity of the dot concentration dispersion Line made with dots

119. Expressive capacity of the dot

121. Dots also have a great attraction power. It makes them very efficient as a composing element and as an indication sign.

124. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume .

125. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume .

126. Three-dimensional capacity of the dot If we vary appropriately sizes, shapes and colours of the dots, we can create visual sensations of spatial depth and volume .

131. THE LINE

132. THE LINE

133. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion.

134. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION

135. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION

136. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION

137. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION

138. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION

139. THE LINE If we move our pencil in any direction, the result is a line. That is why we define line as a dot in motion. A DOT IN MOTION

140. THE LINE

141. THE LINE Lines have a position and a direction in space…

142. THE LINE Lines have a position and a direction in space…

143. THE LINE Lines have a position and a direction in space…

144. THE LINE Lines have a position and a direction in space…

145. THE LINE Lines have a position and a direction in space…

146. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes.

147. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes.

148. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes.

149. THE LINE Lines have a position and a direction in space… … and one of their functions is to delimitate the outline of shapes. For this reason and for its expressive possibilities, it is very suitable to describe accurately any shape and to transmit ideas and emotions.

150. THE LINE

151. THE LINE

152. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness, etc.

153. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth , balance, strength, smoothness, etc.

154. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance , strength, smoothness, etc.

155. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength , smoothness, etc.

156. THE LINE The shape, thickness, colour and texture of the lines depend on the materials we use and the way we use them. These structural features have different functions and allow the artist to create different visual sensations such as depth, balance, strength, smoothness , etc.

158. The structural differences of lines make them expressively rich.

159. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

160. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

161. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

162. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

163. The structural differences of lines make them expressively rich. Observe the different aspects of the lines drawn with a pencil, with a pen, with markers and with a paintbrush.

165. CLASSIFYING LINES

166. CLASSIFYING LINES According to their structure, lines can be classified in:

167. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines

168. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines Composed lines

169. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines

170. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines

171. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed.

172. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines

173. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines

174. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines.

175. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines.

176. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines. We make mixed lines with fragments of straight and curve lines.

177. CLASSIFYING LINES According to their structure, lines can be classified in: Simple lines are made in just one stroke, straight or curve. They are perceived at just one look. Composed lines are made of fragments of two or more straight or curve lines. To fully visualize them, we must turn our sight in different directions. These lines can also be broken, undulating or mixed. We make broken lines with fragments of straight lines We make undulating lines with fragments of curve lines. We make mixed lines with fragments of straight and curve lines.

179. EXPRESSIVE POSSIBILITIES OF LINES

180. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions:

181. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical,

182. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal

183. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique

184. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique or curve.

185. EXPRESSIVE POSSIBILITIES OF LINES We can draw lines in different directions: vertical, horizontal, oblique or curve. Each of them has a different expressive value.

186. EXPRESSIVE POSSIBILITIES OF LINES

187. EXPRESSIVE POSSIBILITIES OF LINES

188. EXPRESSIVE POSSIBILITIES OF LINES Vertical lines:

189. EXPRESSIVE POSSIBILITIES OF LINES Vertical lines: transmits an upward or a downward movement, depending on how we use them. It gives us a visual sensation of growing, balance and power.

191. growing

193. balance

195. power

199. growing

200. growing

201. growing balance

202. growing balance

203. growing balance power

204. growing balance power strong

205. EXPRESSIVE POSSIBILITIES OF LINES

206. EXPRESSIVE POSSIBILITIES OF LINES

207. EXPRESSIVE POSSIBILITIES OF LINES Horizontal lines:

208. EXPRESSIVE POSSIBILITIES OF LINES Horizontal lines: horizontal direction gives a visual sensation of stability, calm and serenity, but an excessive use can give a dull effect.

210. stability

212. calm

214. serenity

217. Stability

218. Stability

219. Stability Calm

220. Stability Calm

221. Stability Calm Serenity

222. EXPRESSIVE POSSIBILITIES OF LINES

223. EXPRESSIVE POSSIBILITIES OF LINES

224. EXPRESSIVE POSSIBILITIES OF LINES Obliques lines :

225. EXPRESSIVE POSSIBILITIES OF LINES Obliques lines : transmit more instability and movement. These two aspects give slanting lines a visual sensation of dynamism.

227. instability

229. movement

231. dynamism

235. Instability

236. Instability

237. Instability movement

238. Instability movement

239. Instability movement dynamism

240. EXPRESSIVE POSSIBILITIES OF LINES

241. EXPRESSIVE POSSIBILITIES OF LINES

242. EXPRESSIVE POSSIBILITIES OF LINES Curve lines :

243. EXPRESSIVE POSSIBILITIES OF LINES Curve lines : Transmit a visual sensation of movement and joy.

245. mov ement

247. joy

248. THE PLANE

249. THE PLANE

250. THE PLANE A plane is a two-dimension surface, length and width, and it has a position and a direction in space.

251. THE PLANE This plane is delimitated by an contour line. This plane is delimitated by an contour line

252. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. This plane is delimitated by an contour line

253. THE PLANE There are several ways to describe the limits of a plane:

254. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

255. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

256. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

257. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

258. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an outline

259. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.

260. THE PLANE There are several ways to describe the limits of a plane:

261. THE PLANE There are several ways to describe the limits of a plane: The surface of this plane is defined by very little dots...

262. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. The surface of this plane is defined by very little dots... or by a texture

263. THE PLANE There are several ways to describe the limits of a plane: The surface of this plane is defined by very little dots... or by a texture or by lines

264. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line.

265. THE PLANE There are several ways to describe the limits of a plane: This plane is delimitated by an contour line. To define this plane, we use a coloured surface

266. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line.

267. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types:

268. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.

269. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.

270. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.

271. THE PLANE CLASSIFYING PLANE FORMS This plane is delimitated by an contour line. We have two types: Geometric : they can transmit strong visual sensations of order and stability. Organic : They give a visual sensation of more dynamism than geometric forms.

272. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE

273. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE

274. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE

275. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE

276. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE

277. THE PLANE This plane is delimitated by an contour line. One of the main functions of plane forms is to create volume when they are together with other plane forms in different directions. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Observe: if we join planes in different directions, we get a visual sensation of volume. Other plastic elements such as changes in colour and size contribute to this.

278. THE PLANE THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE

279. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE

280. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions:

281. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length

282. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length

283. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width

284. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width

285. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width and depth

286. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length, width and depth

287. THE PLANE This plane is delimitated by an contour line. THREE-DIMENSIONAL POSSIBILITIES OF THE PLANE Volume has three dimensions: length , width and depth

305. The plane is most suitable to transmit visual sensations such as volume, chiaroscuro, depth, etc. These qualities make of it a fundamental part for the elaboration of artistic work in any of their means of expression.

306. THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.

335. THE PLANE EXPRESSIVE CAPACITY OF PLANE FORMS The plane is the plastic element that receives the action of all the other elements, because we can work on it with dot, lines, colours and textures. That is why it has such a great power of expression.

345. THE TEXTURE

346. THE TEXTURE Texture is the quality of surfaces due to the material structure of the object. It can transmit different visual and tactile sensations.

349. We can distinguish flat TEXTURE

350. We can distinguish flat TEXTURE

351. We can distinguish flat TEXTURE

352. We can distinguish FLAT TEXTURE

353. We can distinguish FLAT TEXTURE smooth

354. We can distinguish FLAT TEXTURE smooth

355. We can distinguish FLAT TEXTURE

356. We can distinguish FLAT TEXTURE granulated

357. We can distinguish FLAT TEXTURE granulated

358. We can distinguish FLAT TEXTURE

359. We can distinguish FLAT TEXTURE rough

360. We can distinguish FLAT TEXTURE rough

363. the surface of silk is flat and smooth

366. the surface of the bark of a tree is rough and ridged

368. Artists use textures as another plastic element to reach more expressivity in their works

370. NATURAL AND ARTIFICIAL TEXTURES

371. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into:

372. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into: Natural textures

373. NATURAL AND ARTIFICIAL TEXTURES According to their origin we can classify textures into: Natural textures Artificial textures

374. NATURAL AND ARTIFICIAL TEXTURES

375. NATURAL AND ARTIFICIAL TEXTURES Natural textures: those present in nature.

376. NATURAL AND ARTIFICIAL TEXTURES Artificial textures: those manually or mechanically elaborated by man.

379. TACTILE TEXTURES

380. We can perceive them through the sense of touch . In plastic representation - painting or sculpture-, we can perceive a lot of tactile effects combining different materials or making surfaces with the relief we want. TACTILE TEXTURES

382. VISUAL TEXTURES

383. VISUAL TEXTURES

384. VISUAL TEXTURES We perceive visual textures only with our sight. We also call them graphic textures, because they are photographs or representations on paper or on other materials.