Module 4: Visual Grammar- How to communicate without words & The Visual Elements

Visual Grammar

• refers to the system of principles and rules that govern the creation, interpretation, and use of visual elements to convey meaning effectively in communication.

• Like words in a sentence, visuals have patterns and relationships that convey meaning.

Objects

The essential elements we must work with. It can be abstract or concrete.

Structure

• The pattern formed from our essential elements. It can be abstract or concrete.

Activities

• The process we represent with our basic elements and patters.

Relations

• The relationship between objects, patterns, and processes. They are how everything in your design relates to each other and the viewer.

Objects

• are the fundamental building blocks of visual grammar, asking to letters to words. They can be abstract or concrete used to express different ideas and concepts.

Abstract

• objects are conceptual entities that define space and dimension without physical form. They are theoretical underpinnings of visual composition, allowing us to describe and analyze visual elements.

Points

• a position without area, purely conceptual

Lines

• A series of points, possessing one dimension (length).

Surfaces

• A series of lines, possessing two dimensions (length and width)

Volumes

• A space defined by surfaces, possessing three dimensions (length, width, and depth).

Width

• how wide something is

Height

• how tall something is

Depth

• how deep something is

Concrete

• Objects are the visible components of a design, defined by their contours.

• They are what we physically interact with and perceive.

• These objects perceive.

• These objects possess distinct characteristics that contribute to the overall visual message.

Form

• Defined by contours of surfaces and lines; how a thing looks.

Size

• Perceived relative to the viewer, other forms, and the design format.

Color

• Perceived wavelengths of light, influencing mood and meaning.

Structures

• Whenever we place two or more objects about one another.

• We describe these by the patterns they create. 

• Therefore, we must recognize the presence of a way to describe it.

Abstract Structures

• When the structures lines of a structure are invisible and inactive.

Formal

• even distribution of elements and spacing (structure units) between them. 

Informal

• lacking regularity in the arrangement of objects.

• Even if a pattern is observed. If the objects do not follow straight structural do not follow straigth structural lines.

Gradiation

• structure units change in form or size, but an even rate.

Rational 

• structure units radiate from a common center.

Spiral

• uneven distribution from a common center.

Concrete Structures

• Have either visible or active structure lines.

• Where abstract structure indirectly show the structure, and this structure directly show it.

• It can be visible compositions, such as patterns forming into textures.

Visible Structures

• Do not have to include objects. If the structure lines are visible, the structure itself is visible. 

• It can consist of organized objects but they do not have to.

Active Structure

• Are those where the structure lines influence the form to the objects within the structure.

• The objects must be present in this structure, but the structure lines can be absent if their influence is seen.

Textures

• are visible and felt structures.

• they can be formed from objects, structure lines, or both.

• Surfaces can be ornamental, random, or mechanical, and we can classify them similarly to abstract structures.

Line

• is the foundation of all drawings.

• it is the first and most versatile of the visual elements of art. 

• It an artwork it can be used in many ways.

• It can suggest shape, pattern, form, structure, growth, depth, distance, rhythm, movement, and emotions.

Shape

• can be natural or manufactured, regular or irregular, flat (2-dimensional) or solid (3-dimensional), representational or abstract, geometric or organic, transparent, or opaque, positive or negative, decorative or symbolic, colored, patterned, or textured.

Tone

• is the lightness or darkness of a color. The tonal values of an artwork can be adjusted to alter its expressive character,

Color

• is the visual element that has the strongest effect on our emotions. 

• We use this to create a mood or atmosphere of an artwork.

Pattern

• is made by repeating or echoing the elements of an artwork to communicate a sense of balance, harmony, contrast, rhythm, or movement.

Natural Pattern

• Pattern in art often inspired by observing natural patterns in nature.

• We can see these in the shape of a leaf and the branches of a tree, the crystal structure, the spiral of a shell, the symmetry of a snowflake, and the camouflage and signaling patterns on animals, fish, and insects.

Man- Made Pattern

• Art patterns are used for structural and decorative purposes.

Texture

• is the surface quality of an artwork—the roughness or smoothness of the material from which it is made. 

Optical Texture

• The use of skillful painting techniques to create the illusion of texture.

Physical Texture

• An artist may paint with expressive brushstrokes whose texture conveys the physical and emotional energy of the artist and his/her subject.

Ephemeral Texture

• this is the third category of textures whose fleeting forms are subject to change, like clouds, smoke, flames, bubbles, and liquids.

Form

• is the physical volume of a shape and its space.

• it can be representational or abstract.

• generally refers to sculpture, 3D designs, and architecture but may also relate to the illusion of 3D on a 2D surface.

Three-dimensional forms

• can be modeled (added form), carved (subtracted form), and constructed (built form).

Two-dimensional form

• constructs the illusion of 3D in 2D media by skillful manipulation of the visual elements. Perspective drawing, trompe l’oeil (1), 3D computer graphics programs, and holograms are examples of the 2D form.