BASIC ELEMENTS OF IMAGES: LINES

UNIT 07: VISUAL LANGUAGE. INTRODUCTION TO PHOTOGRAPHY

TASK 01: BASIC ELEMENTS FOR AN IMAGE

3. BASIC ELEMENTS OF IMAGES

3.2. THE LINE

In the image the line might seem to be the most important element of the photograph (the main character). It might also be formed by the proximity of different dots. It is an imaginary line our mind creates while we are reading the image.
The cars create imaginary lines.
Birdsville track Australia. National Geography. Rowan-Bestmann.
birdsville-track-australia-national-rowan-bestmann
It could be straight or curved:

    1. Straight or sharp lines and also the oblique ones give us the idea of something dynamic and lively.

Santa María de los Ángeles Church. Javier Carvajal 1.960. Vitoria spring 2013.
STA-MARIA-ANGELES-JAVIER-CARBAJAL-1960

      • Vertical lines: instability or tension.

Photographs of vanishing tribes before they pass away by Jimmy Nelson. Dani, Indonesia and Papua New Guinea.
photographs-of-vanishing-tribes-before-they-pass-away-jimmy-nelson-lines

      • Horizontal lines: calm and balance.

Example of photography of horizontal lines. Sarah Deane.
horizontal-sarah-deane

    1. Curve lines give us the idea of slowness, harmony and softness.

National Geographic. Photograph by Nagaraju Hanchanajal.
laba-ws.blogspot.com

BASIC ELEMENTS OF IMAGES: DOT

UNIT 07: VISUAL LANGUAGE. INTRODUCTION TO PHOTOGRAPHY

TASK 01: BASIC ELEMENTS FOR AN IMAGE

3. BASIC ELEMENTS OF IMAGES

3.1. THE DOT

It is the smallest element in visual language. In a photograph, a dot is the element in the image which is small in comparison to the whole photograph, but which gets our attention strongly.
It doesn’t necessarily have to be a rounded shape, in the video we have watched “2,000,000 phantoms”, now you can notice that the Genbaku Dome is our “dot”.
This attraction might be caused by:

    1. Position – Place it in a prominent position.
    2. Converging Lines – Different lines converge in that dot.

Converging Lines shot to illustrate the point and hopefully give a little inspiration.
Image taken from Digital photography school.
converging-lines-2-1

    1. Light contrast – The dot is highlighted because it has more or less light than the elements surrounding it.

In this shot you can see some trees in neutral colours and our dot is the sun.
Peroño Forest. Autumn 2013.
SUN-TREES-SNOW
In this image the effect is more dramatic due to the backlighting effect.
National Geographic. Trinidad Valley.
national-geographic-trinidad-valley-clouds

    1. Contrasting colours – Using contrasting colours can also be a way of setting your point of interest apart from its surroundings.

The natives’ colourful hats as regards the monochromatic landscape.
Photographs of vanishing tribes before they pass away by Jimmy Nelson. Drokpa tribe, India.
photographs-of-vanishing-tribes-before-they-pass-away-jimmy-nelson-point

    1. TextureContrasting textures can make a subject stand out.

Soft texture of the girl’s dress over the stone stairs.
Annie Leibovitz Disney Dream Portrait Series: Scarlett Johansson as Cinderella.
Annie-Leibovitz-Disney-Dream-Portrait-Series-Scarlett-Johansson-as-Cinderella-Rachel-wallpaper

BASIC ELEMENTS OF IMAGES: LINES

UNIT 06: VISUAL LANGUAGE. INTRODUCTION TO PHOTOGRAPHY

TASK 01: BASIC ELEMENTS FOR AN IMAGE

3. BASIC ELEMENTS OF IMAGES

3.2. THE LINE

In the image the line might seem to be the most important element of the photograph (the main character). It might also be formed by the proximity of different dots. It is an imaginary line our mind creates while we are reading the image.
The cars create imaginary lines.
Birdsville track Australia. National Geography. Rowan-Bestmann.
birdsville-track-australia-national-rowan-bestmann
It could be straight or curved:

  1. Straight or sharp lines and also the oblique ones give us the idea of something dynamic and lively.
  2. Santa María de los Ángeles Church. Javier Carvajal 1.960. Vitoria spring 2013.
    STA-MARIA-ANGELES-JAVIER-CARBAJAL-1960

    • Vertical lines: instability or tension.
    • Photographs of vanishing tribes before they pass away by Jimmy Nelson. Dani, Indonesia and Papua New Guinea.
      photographs-of-vanishing-tribes-before-they-pass-away-jimmy-nelson-lines

    • Horizontal lines: calm and balance.
    • Example of photography of horizontal lines. Sarah Deane.
      horizontal-sarah-deane

  3. Curve lines give us the idea of slowness, harmony and softness.
  4. National Geographic. Photograph by Nagaraju Hanchanajal.
    laba-ws.blogspot.com

BASIC ELEMENTS OF IMAGES: DOT

UNIT 06: VISUAL LANGUAGE. INTRODUCTION TO PHOTOGRAPHY

TASK 01: BASIC ELEMENTS FOR AN IMAGE

3. BASIC ELEMENTS OF IMAGES

3.1. THE DOT

It is the smallest element in visual language. In a photograph, a dot is the element in the image which is small in comparison to the whole photograph, but which gets our attention strongly.
It doesn’t necessarily have to be a rounded shape, in the video we have watched “2,000,000 phantoms”, now you can notice that the Genbaku Dome is our “dot”.
This attraction might be caused by:

  1. Position – Place it in a prominent position.
  2. Converging Lines – Different lines converge in that dot.
  3. Converging Lines shot to illustrate the point and hopefully give a little inspiration.
    Image taken from Digital photography school.
    converging-lines-2-1

  4. Light contrast – The dot is highlighted because it has more or less light than the elements surrounding it.
  5. In this shot you can see some trees in neutral colours and our dot is the sun.
    Peroño Forest. Autumn 2013.
    SUN-TREES-SNOW
    In this image the effect is more dramatic due to the backlighting effect.
    National Geographic. Trinidad Valley.
    national-geographic-trinidad-valley-clouds

  6. Contrasting colours – Using contrasting colours can also be a way of setting your point of interest apart from its surroundings.
  7. The natives’ colourful hats as regards the monochromatic landscape.
    Photographs of vanishing tribes before they pass away by Jimmy Nelson. Drokpa tribe, India.
    photographs-of-vanishing-tribes-before-they-pass-away-jimmy-nelson-point

  8. TextureContrasting textures can make a subject stand out.
  9. Soft texture of the girl’s dress over the stone stairs.
    Annie Leibovitz Disney Dream Portrait Series: Scarlett Johansson as Cinderella.
    Annie-Leibovitz-Disney-Dream-Portrait-Series-Scarlett-Johansson-as-Cinderella-Rachel-wallpaper

MANEJO DE LA ESCUADRA Y EL CARTABÓN

MANEJO DE LA ESCUADRA Y EL CARTABÓN

Hay que manejar la escuadra y cartabón con soltura y suavidad, sin ejercer sobre ellas una excesiva presión, pero sí la necesaria para evitar todo movimiento.
Para trazar paralelas a una dirección debemos proceder de la siguiente manera:
parallel

  1. Se coloca la hipotenusa (lado más largo) de la escuadra coincidiendo con la recta a la que queremos trazar paralelas.
  2. Se apoya en un cateto de la escuadra la hipotenusa del cartabón.
  3. Se fija el cartabón y se desplaza la escuadra, trazando por su hipotenusa las paralelas deseadas.

Si queremos trazar perpendiculares a una dirección tendremos que:
perpendicular

  1. Se coloca la hipotenusa (lado más largo) de la escuadra coincidiendo con la recta a la que queremos trazar paralelas.
  2. Se apoya en un cateto de la escuadra la hipotenusa del cartabón.
  3. Fijando el cartabón, se gira la escuadra sin levantarla del papel hasta que apoyemos el otro cateto sobre el cartabón.
  4. Trazar la perpendicular por la hipotenusa de la escuadra.

HANDLING THE SET SQUARE

HANDLING THE SET SQUARE

How should we handle the set square?

You have to handle your set square softly and with accuracy without exercising too much pressure on them, only the needed one to avoid movement.
To draw parallel lines to one direction we have to follow these steps:
parallel

  1. The 45 set square hypotenuse (longest side) is placed attached to the line to which we want to draw the parallels.
  2. The 60-30 set square hypotenuse is attached to the 45 set square leg.
  3. Fix the 60-30 set square and move the 45 set square upwards or downwards drawing the desired parallel lines along its hypotenuse.

If we want to draw perpendicular lines to one direction, we will have to follow the first two steps as stated for parallel lines and then the following ones:
perpendicular

  1. Having fixed the 60-30 set square, the 45 set square is turned until the other leg is attached to the hypotenuse of the 60-30 set square.
  2. Draw the perpendicular line along the hypotenuse of the 45 set square.

EXERCISE 02: PARALLEL LINES

UNIT 01: BASIC ELEMENTS OF PLASTIC EXPRESSION

EXERCISE 02: PARALLEL LINES

How do we use the set square?

You have to handle your set square softly and with accuracy without exercising too much pressure on them, only the needed one to avoid movement.
To draw parallel lines to one direction we have to follow these steps:
parallel

  1. The 45 set square hypotenuse (longest side) is placed attached to the line to which we want to draw the parallels.
  2. The 60-30 set square hypotenuse is attached to the 45 set square leg.
  3. Fix the 60-30 set square and move the 45 set square upwards or downwards drawing the desired parallel lines along its hypotenuse.

If we want to draw perpendicular lines to one direction, we will have to follow the first two steps as stated for parallel lines and then the following ones:
perpendicular

  1. Having fixed the 60-30 set square, the 45 set square is turned until the other leg is attached to the hypotenuse of the 60-30 set square.
  2. Draw the perpendicular line along the hypotenuse of the 45 set square.