LineA line is defined as a mark that connects the space between two points, taking any form along the way. Show
Learning Objectives Compare and contrast different uses of line in art Key TakeawaysKey Points
Key Terms
The line is an essential element of art, defined as a mark that connects the space between two points, taking any form along the way. Lines are used most often to define shape in two-dimensional works and could be called the most ancient, as well as the most
universal, forms of mark making. Jacques-Louis David, Oath of the Horatii, 1784: Many implied lines connect the figures and action of the piece by leading the eye of the viewer through the unfolding drama. Straight or classic lines add stability and structure to a composition and can be vertical, horizontal, or diagonal on the surface of the work. Expressive lines refer to curved marks that increase the sense of dynamism of a work of art. These types of lines often follow an undetermined path
of sinuous curves. The outline or contour lines create a border or path around the edge of a shape, thereby outlining and defining it. Cross contour lines delineate differences in the features of a surface and can give the illusion of three dimensions or a sense of form or shading. Light and ValueValue refers to the use of light and dark in art. Learning Objectives Explain the artistic use of light and dark (also known as “value”) Key TakeawaysKey Points
Key Terms
The use of light and dark in art is called value. Value can be subdivided into tint (light hues) and shade (dark hues). In painting, which uses subtractive color, value changes are achieved by adding black or white to a color. Artists may also employ shading, which refers to a more subtle manipulation of value. The value scale is used to show the standard variations in tones . Values near the lighter end of the spectrum are termed high-keyed, while those on the darker end are low-keyed. Value scale: The value scale represents different degrees of light used in artwork. In two-dimensional artworks, the use of value can help to give a shape the illusion of mass or volume. It will also give the entire composition a sense of lighting. High contrast refers to the placing of lighter areas directly against much darker ones, so their difference is showcased, creating a dramatic effect. High contrast also refers to the presence of more blacks than white or grey. Low-contrast images result from placing mid-range
values together so there is not much visible difference between them, creating a more subtle mood. Caravaggio, The Denial of St. Peter, 1610: Caravaggio's The Denial of St. Peter is an excellent example of how light can be manipulated in artwork. ColorIn the visual arts, color theory is a body of practical guidance to color mixing and the visual impacts of specific color combinations. Learning Objectives Express the most important elements of color theory and artists’ use of color Key TakeawaysKey Points
Key Terms
Color is a fundamental artistic element which refers to the use of hue in art and design. It is the most complex of the elements because of the wide array of combinations inherent to it. Color theory first appeared in the 17th century when Isaac Newton discovered that white light could be passed through a prism and divided into the full
spectrum of colors. The spectrum of colors contained in white light are, in order: red, orange, yellow, green, blue, indigo and violet. Color wheel: The color wheel is a diagram that shows the relationship of the various colors to each other. Color " value " refers to the relative lightness or darkness of a color. In addition, "tint" and "shade" are important aspects of color theory and result from lighter and darker variations in value, respectively. "Tone" refers to the gradation or subtle changes of a color on a lighter or darker scale. "Saturation" refers to the intensity of a color. Additive and Subtractive ColorAdditive color is color created by mixing red, green, and blue lights. Television screens, for example, use additive color as they are made up of the primary colors of red, blue and green (RGB). Subtractive color, or "process color," works as the reverse of additive color and the primary colors become cyan, magenta, yellow, and black (CMYK). Common applications of subtractive color can be found in printing and photography. Complementary ColorComplementary colors can be found directly opposite each other on the color wheel (purple and yellow, green and red, orange and blue). When placed next to each other, these pairs create the strongest contrast for those particular two colors. Warm and Cool Color The distinction between warm and cool colors has been important since at least the late 18th century. The contrast, as traced by etymologies in the Oxford English Dictionary, seems related to the observed contrast in landscape light, between the "warm" colors associated with daylight or sunset and the "cool" colors associated with a gray or
overcast day. Warm colors are the hues from red through yellow, browns and tans included. Cool colors, on the other hand, are the hues from blue green through blue violet, with most grays included. Color theory has described perceptual and psychological effects to this contrast. Warm colors are said to advance or appear more active in a painting, while cool colors tend to recede. Used in interior design or fashion, warm colors are said to arouse or stimulate the viewer , while cool colors
calm and relax. TextureTexture refers to the tactile quality of the surface of an art object. Learning Objectives Recognize the use of texture in art Key TakeawaysKey Points
Key Terms
Texture Texture in art stimulates the senses of sight and touch and refers to the tactile quality of the surface of the art. It is based on the perceived texture of the canvas or surface, which includes the application of the paint. In the context of artwork, there are two types of texture: visual and actual. Visual texture refers to an implied sense of texture that the artist creates through the use of various artistic elements such as line, shading and color. Actual texture refers to the
physical rendering or the real surface qualities we can notice by touching an object, such as paint application or three-dimensional art. Jan van Eyck, The Virgin of Chancellor Rolin, 1435: The Virgin of Chancellor Rolin has a great deal of texture in the clothing and robes, but the actual surface of the work is very smooth. Paintings often use actual texture as well, which we can observe in the physical application of paint. Visible brushstrokes and different amounts of paint will create a texture that adds to the expressiveness of a painting and draw attention to specific areas within it. The artist Vincent van Gogh is known to have used a great deal of actual texture in his paintings, noticeable in the thick application of paint in such paintings as Starry Night. Vincent van Gogh, The Starry Night, 1889: The Starry Night contains a great deal of actual texture through the thick application of paint. Shape and VolumeShape refers to an area in a two-dimensional space that is defined by edges; volume is three-dimensional, exhibiting height, width, and depth. Learning Objectives Define shape and volume
and identify ways they are represented in art Key TakeawaysKey Points
Key Terms
Shape refers to an area in two-dimensional space that is defined by edges. Shapes are, by definition, always flat in nature and can be geometric (e.g., a circle, square, or pyramid) or organic (e.g., a leaf or a chair). Shapes can be created by placing two different textures , or shape-groups, next to each other, thereby creating an enclosed area, such as a painting of an object floating in water. Jan Brueghel the Elder, Small Bouquet of Flowers in a Ceramic Vase, 1599: Three-dimensional figures may be depicted on the flat picture plane through the use of the artistic elements to imply depth and volume. "Form" is a concept that is related to shape. Combining two or more shapes can create a three-dimensional shape. Form is
always considered three-dimensional as it exhibits volume—or height, width, and depth. Art makes use of both actual and implied volume. Time and MotionMotion, a principle of art, is a tool artists use to organize the artistic elements in a work; it is employed in both static and time-based mediums. Learning Objectives Name some techniques and mediums used by artists to convey motion in both static and time-based art forms Key TakeawaysKey Points
Key Terms
Motion, or movement, is considered to be one of the "principles of art"; that is, one of the tools artists use to organize the artistic elements in a work of art. Motion is employed in both static and in time-based mediums and can show a direct action or the intended path for the viewer 's eye to follow through a
piece. Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912: This work represents Duchamp's conception of motion and time. While static art forms have the ability to imply or suggest time and motion, the time-based mediums of film, video, kinetic sculpture, and performance art demonstrate time and motion by their very definitions. Film is many static images that are quickly passed through a lens. Video is essentially the same process, but digitally-based and with fewer
frames per second . Performance art takes place in real time and makes use of real people and objects, much like theater. Kinetic art is art that moves, or depends on movement, for its effect. All of these mediums use time and motion as a key aspect of their forms of expression. Chance, Improvisation, and SpontaneityDadaism, Surrealism, and the Fluxus movement all relied on the elements of chance, improvisation, and spontaneity as tools for making art works. Learning Objectives Describe how Dadaism, Surrealism, and the Fluxus movement relied on chance, improvisation, and spontaneity Key TakeawaysKey Points
Key Terms
Chance, improvisation, and spontaneity are elements that can be used to create art, or they can be the very purpose of the artwork itself. Any medium can employ these elements at any point within the artistic process. Marcel Duchamp, Urinal, 1917: Marcel Duchamp's Urinal is an example of a "ready-made," which were objects that were purchased or found and then declared art. Dadaism Dadaism was an
art movement popular in Europe in the early 20th century. It was started by artists and poets in Zurich, Switzerland with strong anti-war and left-leaning sentiments. The movement rejected logic and reason and instead prized irrationality, nonsense, and intuition. Marcel Duchamp was a dominant member of the Dadaist movement, known for exhibiting "ready-mades," which were objects that were purchased or found and then declared art. SurrealismThe Surrealist movement, which developed out of Dadaism primarily as a political movement, featured an element of surprise, unexpected juxtaposition and the tapping of the unconscious mind. Andre Breton, an important member of the movement, wrote the Surrealist manifesto, defining it as follows:
Like Dadaism before it, the Surrealist movement stressed the unimportance of reason and planning and instead relied heavily upon chance and surprise as a tool to harness the creativity of the unconscious mind. Surrealists are known for having invented "exquisite corpse" drawing, an exercise where words and images are collaboratively assembled, one after another. Many Surrealist techniques, including exquisite corpse drawing, allowed for the playful creation of art through assigning value to spontaneous production. The Fluxus movement The Fluxus movement of the 1960s was highly influenced by Dadaism. Fluxus was an international network of artists that skillfully blended together many different disciplines, and whose work was characterized by the use of an extreme do-it-yourself (DIY) aesthetic and heavily intermedia artworks. In addition, Fluxus was known for its "happenings," which were multi-disciplinary
performance events or situations that could take place anywhere. Audience participation was essential in a happening, and therefore relied on a great deal of surprise and improvisation. Key elements of happenings were often planned, but artists left room for improvisation, which eliminated the boundary between the artwork and the viewer , thus making the audience an important part of the art. Inclusion of All Five SensesThe inclusion of the five human senses in a single work takes place most often in installation and performance art. Learning Objectives Explain how installation and performance art include the five senses of the viewer Key TakeawaysKey Points
Key Terms
The inclusion of the five human senses in a single work takes place most often in installation and performance-based art. In addition, works that strive to include all senses at once generally make use of some form of interactivity, as the sense of taste clearly must involve the participation of the viewer. Historically, this attention to all senses was reserved to ritual and ceremony . In contemporary art, it is quite common for work to cater to
the senses of sight, touch, and hearing, while somewhat less common for art to address the senses of smell and taste. Rachel Whiteread, Embankment, 2005: Whiteread's installation Embankment is a type of art designed to transform the viewer's perception of space. "Virtual reality" is a term that refers to computer-simulated environments. Currently, most virtual reality environments are visual experiences, but some simulations include additional sensory information. Immersive virtual reality has developed
in recent years with the improvement of technology and is increasingly addressing the five senses within a virtual realm. Artists have been exploring the possibilities of these simulated and virtual realities with the expansion of the discipline of cyberarts, though what constitutes cyberart continues to be up for debate. Environments such as the virtual world of Second Life are generally accepted, but whether or not video games should be considered art remains undecided.
Compositional BalanceCompositional balance refers to the placement of the artistic elements in relation to each other within a work of art. Learning Objectives Categorize the elements of compositional balance in a work of art Key TakeawaysKey Points
Key Terms
Compositional
balance refers to the placement of the elements of art (color, form , line , shape, space , texture , and value) in relation to each other. When balanced, a composition appears more stable and visually pleasing. Just as symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" appear, the overall balance of a given composition contributes to outside judgments of the work. Compositional balance: The three common types of balance are symmetric, asymmetric, and radial. Symmetrical balance is the most stable, in a visual sense, and generally conveys a sense of harmonious or aesthetically pleasing proportionality. When both sides of an artwork on either side of the horizontal or vertical axis of the picture plane are the same in terms of the sense that is created by the arrangement of the elements of art, the work is said to exhibit this type of balance. The opposite of symmetry is asymmetry . Leonardo da Vinci, Vitruvian Man, 1487: Leonardo da Vinci's Vitruvian Man is often used as a representation of symmetry in the human body and, by extension, the natural universe. Asymmetry is defined as the absence of, or a violation of, the principles of symmetry. Examples of asymmetry appear commonly in architecture. Although pre-modern architectural styles tended to place an emphasis on symmetry (except where extreme site conditions or historical developments lead away from this classical ideal), modern and postmodern architects frequently used asymmetry as a design element. For instance, while most bridges employ a symmetrical form due to intrinsic simplicities of design, analysis, fabrication, and economical use of materials, a number of modern bridges have deliberately departed from this, either in response to site-specific considerations or to create a dramatic design statement. . Oakland Bay Bridge: Eastern span replacement of the San Francisco–Oakland Bay Bridge reflects asymmetrical architectural design. Radial balance refers to circular elements in compositions. In classical geometry, a radius of a
circle or sphere is any line segment from its center to its perimeter. By extension, the radius of a circle or sphere is the length of any such segment, which is half the diameter. The radius may be more than half the diameter, which is usually defined as the maximum distance between any two points of the figure. The inradius of a geometric figure is usually the radius of the largest circle or sphere contained in it. The inner radius of a ring, tube or other hollow object is the radius of its
cavity. The name "radial" or "radius" comes from Latin radius, meaning "ray" but also the spoke of a circular chariot wheel. RhythmArtists use rhythm as a tool to guide the eye of the viewer through works of art. Learning Objectives Recognize and interpret the use of rhythm in a work of art Key TakeawaysKey Points
Key Terms
The principles of visual art are the rules, tools, and guidelines that artists use to organize the elements of in a piece of artwork. When the principles and elements are successfully
combined, they aid in creating an aesthetically pleasing or interesting work of art. While there is some variation among them, movement, unity, harmony, variety, balance, rhythm, emphasis, contrast , proportion, and pattern are commonly sited as principles of art. Hilma af Klint, Svanen (The Swan), 1914: Color and symmetry work together in this painting to guide the eye of the viewer in a particular visual rhythm. Proportion and ScaleProportion is a measurement of the size and quantity of elements within a composition. Learning Objectives Apply the concept of proportion to different works of art Key TakeawaysKey Points
Key Terms
Proportion is a measurement of the size and quantity of elements within a composition . Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the artist uses unnatural proportion or scale to depict the relative importance of the figures in the artwork. In ancient Egyptian art, for example, gods and important political figures appear much larger than common people. Beginning with the Renaissance , artists recognized the connection between proportion and perspective , and the illusion of three-dimensional space . Images of the human body in exaggerated proportion were used to depict the reality an artist interpreted. Depiction of Narmer from the Narmer Palette: Narmer, a Predynastic ruler, accompanied by men carrying the standards of various local gods. This piece demonstrates the ancient Egyptians' use of proportion, with Narmer appearing larger than the other figures depicted. Mathematically, proportion is the relation between elements and a whole. In architecture, the whole is not just a building but the set and setting of the site. The things that make a building and its site "well shaped" include everything from the orientation of the site and the buildings on it, to the features of the grounds on which it
is situated. Light, shade, wind, elevation , and choice of materials all relate to a standard of architectural proportion. Temple of Portanus: The Greek Temple of Portanus is an example of classical Greek architecture with its tetrastyle portico of four Ionic columns. Typically, one set of column diameter modules used for
casework and architectural moldings by the Egyptians and Romans is based on the proportions of the palm and the finger, while another less delicate module—used for door and window trim, tile work, and roofing in Mesopotamia and Greece—was based on the proportions of the hand and the thumb. SpaceSpace in art can be defined as the area that exists between two identifiable points. Learning Objectives Define space in art and list ways it is employed by artists Key TakeawaysKey Points
Key Terms
The organization of space in art is referred to as composition, and is an essential component of any work of art. Space can be generally defined as the area that exists between any two identifiable points. Pablo Picasso, Les Demoiselles d'Avignon, 1907: Les Demoiselles d'Avignon is an example of cubist art, which has a tendency to flatten the picture plane, and its use of abstract shapes and irregular forms suggest multiple points of view within a single image. Two-Dimensional SpaceTwo-dimensional, or bi-dimensional, space is a geometric model of the planar projection of the physical universe in which we live. Learning Objectives Discuss two-dimensional space in art and the physical
properties on which it is based Key TakeawaysKey Points
Key Terms
Two dimensional, or bi-dimensional, space is a geometric model of the planar projection of the physical universe in which we live. The two dimensions are commonly called length and width. Both directions lie on the same plane . In physics, our bi-dimensional space is viewed as a planar representation of the space in which we move. Mathematical depiction of bi-dimensional space: Bi-dimensional Cartesian coordinate system. In art composition , drawing is a form of visual art that makes use of any number of drawing instruments to mark a two-dimensional medium (meaning that the object does not have depth). One of the
simplest and most efficient means of communicating visual ideas, the medium has been a popular and fundamental means of public expression throughout human history. Additionally, the relative availability of basic drawing instruments makes drawing more universal than most other media. Drawing human figures: Henri de Toulouse-Lautrec's Madame Palmyre with Her Dog, 1897. Linear Perspective and Three-Dimensional SpacePerspective is an approximate representation on a flat surface of an image as it is seen by the eye. Learning Objectives Explain perspective and its impact on art composition Key TakeawaysKey Points
Key Terms
In art, perspective is an approximate representation on a flat surface of an image as it is seen by the eye, calculated by assuming a particular vanishing point . Systematic attempts to evolve a system of perspective are usually considered to have begun around the 5th century BCE in the art of Ancient
Greece. By the later periods of antiquity , artists—especially those in less popular traditions—were well aware that distant objects could be shown smaller than those close at hand for increased illusionism. But whether this convention was actually used in a work depended on many factors. Some of the paintings found in the ruins of Pompeii show a remarkable realism and perspective for their time. Perspective in Renaissance Painting: Pietro Perugino's usage of perspective in this fresco at the Sistine Chapel (1481–82) helped bring the Renaissance to Rome. A drawing has one-point perspective when it contains only one vanishing point on the horizon line . This type of perspective is typically used for images of roads, railway tracks, hallways, or buildings viewed so that the front is directly facing the viewer. Any objects that are made up of lines either directly parallel with the
viewer's line of sight or directly perpendicular (the railroad slats) can be represented with one-point perspective. These parallel lines converge at the vanishing point. Distortions of Space and ForeshorteningDistortion is used to create various representations of space in two-dimensional works of art. Learning Objectives Identify how distortion is both employed and avoided in works of art Key TakeawaysKey Points
Key Terms
A distortion is the alteration of the original shape (or other characteristic) of an object, image, sound, or other form of information or representation. Distortion can be wanted or unwanted by the artist. Distortion is usually unwanted when it concerns physical degradation of a work. However, it is more commonly referred to in terms of perspective, where it is employed to create realistic representations of space in two-dimensional works of art. Perspective Projection DistortionPerspective projection distortion is the inevitable misrepresentation of three-dimensional space when drawn or "projected" onto a two-dimensional surface. It is impossible to accurately depict three-dimensional reality on a two-dimensional plane. However, there are several constructs available that allow for seemingly accurate representation. The most common of these is perspective projection. Perspective projection can be used to mirror how the eye sees by making use of one or more vanishing points. Giotto, Lamentation (The Mourning of Christ), 1305–1306: Giotto is one of the most notable pre-Renaissance artists to recognize distortion on two-dimensional planes. Foreshortening Foreshortening is the visual effect or optical illusion that causes an object or distance to appear shorter than it actually is because it is angled toward the viewer . Although foreshortening is an important element in art where visual perspective is being depicted, foreshortening occurs in other types of two-dimensional representations of three-dimensional scenes, such as oblique
parallel projection drawings. Foreshortening: This painting illustrates Melozzo da Forlì's usage of upward foreshortening in his frescoes at The Basilica della Santa Casa. Distortion in Photography In photography, the projection mechanism is
light reflected from an object. To execute a drawing using perspective projection, projectors emanate from all points of an object and intersect at a station point. These projectors intersect with an imaginary plane of projection and an image is created on the plane by the points of intersection. The resulting image on the projection plane reproduces the image of the object as it is beheld from the station point. Licenses and AttributionsCC licensed content, Shared previously
CC licensed content, Specific attribution
What is the strongest principle of design?Hierarchy. One of the most important principles in design, hierarchy is a way to visually rank your design elements. Hierarchy is not based on a design styles, but rather the order of importance. A good design leads the eye through each area in priority order.
When an artist uses colors black and white in their artwork they are creating a strong sense of _______ in their design?One of the founders of De Stijl movement, Mondrian used primary colors with black and white and created compositions that are asymmetrical in the distribution of elements but which nonetheless create a strong sense of balance, harmony and rhythm in each work.
What creates a sense of motion in a work of art?Rhythm is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Rhythm creates a mood like music or dancing. To keep rhythm exciting and active, variety is essential.
Which is the element of art that is known as a continuous mark made with a pointed tool or a pen or pencil?Line. A line is a continuous mark made on a surface by a moving point. Lines can define a space, create an outline or pattern, imply movement or texture, mass or volume.
|