Pictures of Lines in Art Pictures of Value in Art

Line

A line is defined as a mark that connects the space between two points, taking whatever class along the way.

Learning Objectives

Compare and contrast dissimilar uses of line in art

Key Takeaways

Key Points

• Actual lines are lines that are physically nowadays, existing as solid connections between i or more points.
• Unsaid line refers to the path that the viewer 'southward centre takes as information technology follows shapes, colors, and forms forth whatsoever given path.
• Straight or classic lines provide stability and construction to a composition and can be vertical, horizontal, or diagonal on a work'south surface.
• Expressive lines refer to curved marks that increase the sense of dynamism of a piece of work of fine art.
• The outline or contour lines create a border or path around the edge of a shape, thereby outlining and defining it. "Cantankerous contour lines" delineate differences in the features of a surface.
• Hatch lines are a series of short lines repeated in intervals, typically in a single direction, and are used to add shading and texture to surfaces, while cantankerous-hatch lines provide boosted texture and tone to the image surface and tin be oriented in any management.

Central Terms

• texture:The feel or shape of a surface or substance; the smoothness, roughness, softness, etc. of something.
• cross-hatching:A method of showing shading by means of multiple minor lines that intersect.
• line:A path through 2 or more points.

The line is an essential chemical element of art, defined equally a marker that connects the space between ii points, taking any form along the way. Lines are used most often to define shape in 2-dimensional works and could be called the most ancient, as well as the virtually universal, forms of mark making.

At that place are many different types of lines, all characterized by their lengths being greater than their width, as well as by the paths that they have. Depending on how they are used, lines help to determine the motility, direction, and energy of a work of art. The quality of a line refers to the character that is presented by a line in gild to breathing a surface to varying degrees.

Actual lines are lines that are physically nowadays, existing as solid connections betwixt one or more points, while implied lines refer to the path that the viewer'southward eye takes every bit it follows shape, colour, and form within an art work. Implied lines give works of art a sense of movement and go along the viewer engaged in a composition. We can meet numerous unsaid lines in Jacques-Louis David's Oath of the Horatii, connecting the figures and deportment of the piece by leading the eye of the viewer through the unfolding drama.

Jacques-Louis David, Oath of the Horatii, 1784: Many implied lines connect the figures and activeness of the slice by leading the eye of the viewer through the unfolding drama.

Straight or classic lines add stability and structure to a composition and tin can be vertical, horizontal, or diagonal on the surface of the piece of work. Expressive lines refer to curved marks that increase the sense of dynamism of a work of art. These types of lines frequently follow an undetermined path of sinuous curves. The outline or profile 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 tin give the illusion of three dimensions or a sense of class or shading.

Hatch lines are a series of short lines repeated in intervals, typically in a single direction, and are used to add together shading and texture to surfaces. Cross-hatch lines provide additional texture and tone to the image surface and can exist oriented in whatsoever direction. Layers of cross-hatching tin add rich texture and volume to prototype surfaces.

Lite and Value

Value refers to the employ of light and nighttime in art.

Learning Objectives

Explicate the artistic employ of light and dark (also known equally "value")

Fundamental Takeaways

Key Points

• In painting, value changes are achieved by adding black or white to a color.
• Value in art is also sometimes referred to as " tint " for low-cal hues and "shade" for dark hues.
• Values near the lighter finish of the spectrum are termed "loftier-keyed" while those on the darker end are called "low-keyed."
• In 2-dimensional fine art works, the utilise of value can help to give a shape the illusion of mass or volume .
• Chiaroscuro was a common technique in Baroque painting and refers to articulate tonal contrasts exemplified by very high-keyed whites, placed direct against very low-keyed darks.

Primal Terms

• chiaroscuro:An artistic technique popularized during the Renaissance, referring to the use of exaggerated light contrasts in order to create the illusion of book.

The utilize of light and dark in art is called value. Value can be subdivided into tint (calorie-free 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 utilize shading, which refers to a more than subtle manipulation of value. The value scale is used to show the standard variations in tones . Values near the lighter finish of the spectrum are termed high-keyed, while those on the darker end are low-keyed.

Value scale: The value scale represents dissimilar 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 likewise requite 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 outcome. Loftier contrast likewise refers to the presence of more blacks than white or grey. Depression-contrast images result from placing mid-range values together so there is not much visible difference between them, creating a more subtle mood.

In Baroque painting, the technique of chiaroscuro was used to produce highly dramatic effects in fine art. Chiaroscuro, which means literally "low-cal-dark" in Italian, refers to clear tonal contrasts exemplified by very high-keyed whites, placed directly against very low-keyed darks. Candlelit scenes were common in Bizarre painting as they effectively produced this dramatic type of consequence. Caravaggio used a high dissimilarity palette in such works as The Denial of St. Peter to create his expressive chiaroscuro scene.

Caravaggio, The Denial of St. Peter, 1610: Caravaggio's The Denial of St. Peter is an splendid example of how light tin be manipulated in artwork.

Color

In 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 near important elements of color theory and artists' use of color

Key Takeaways

Key Points

• Color theory first appeared in the 17th century, when Isaac Newton discovered that white lite could exist passed through a prism and divided into the full spectrum of colors.
• The spectrum of colors independent in white low-cal are reddish, orangish, yellow, green, blueish, indigo , and violet.
• Color theory divides color into the " principal colors " of carmine, yellowish, and blue, which cannot exist mixed from other pigments, and the "secondary colors" of dark-green, orangish, and violet, which result from different combinations of the primary colors.
• Primary and secondary colors are combined in various mixtures to create 3rd colors.
• Complementary colors are found opposite each other on the color wheel and represent the strongest contrast for those item two colors.

Central Terms

• complementary colour:A color which is regarded as the reverse of some other on the color wheel (i.due east., red and green, yellow and purple, and orangish and blue).
• value:The relative darkness or lightness of a color in a specific area of a painting or other visual art.
• primary color:Any of three colors which, when added to or subtracted from others in different amounts, tin generate all other colors.
• tint:A color considered with reference to other very similar colors. Red and blue are different colors, but two shades of scarlet are unlike tints.
• gradation:A passing by small degrees from one tone or shade, as of color, to another.
• hue:A color, or shade of color.

Color is a primal creative chemical element which refers to the use of hue in art and design. Information technology is the most complex of the elements considering of the wide array of combinations inherent to information technology. Color theory showtime appeared in the 17th century when Isaac Newton discovered that white lite could exist passed through a prism and divided into the full spectrum of colors. The spectrum of colors independent in white light are, in order: red, orange, xanthous, light-green, blueish, indigo and violet.

Color theory subdivides color into the "primary colors" of red, yellowish, and bluish, which cannot be mixed from other pigments; and the "secondary colors" of green, orange and violet, which event from unlike combinations of the primary colors. Chief and secondary colors are combined in various mixtures to create "3rd colors." Color theory is centered around the color wheel, a diagram that shows the relationship of the various colors to each other .

Color cycle: The color wheel is a diagram that shows the human relationship of the diverse 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 colour.

Additive and Subtractive Color

Additive colour is color created by mixing ruddy, green, and bluish lights. Television screens, for example, utilize condiment color every bit they are made up of the primary colors of red, blue and greenish (RGB). Subtractive color,  or "process color," works every bit the contrary of additive color and the primary colors become cyan, magenta, xanthous, and blackness (CMYK). Common applications of subtractive color tin be constitute in printing and photography.

Complementary Color

Complementary colors tin be constitute straight opposite each other on the colour wheel (purple and yellow, green and red, orangish and blue). When placed next to each other, these pairs create the strongest contrast for those particular two colors.

Warm and Absurd Color

The distinction betwixt 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 dissimilarity in landscape lite, betwixt the "warm" colors associated with daylight or sunset and the "cool" colors associated with a grayness or overcast day. Warm colors are the hues from cerise 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 announced more than active in a painting, while cool colors tend to recede. Used in interior pattern or fashion, warm colors are said to arouse or stimulate the viewer , while cool colors calm and relax.

Texture

Texture refers to the tactile quality of the surface of an art object.

Learning Objectives

Recognize the apply of texture in art

Key Takeaways

Fundamental Points

• Visual texture refers to an unsaid sense of texture that the artist creates through the utilise of various artistic elements such as line , shading, and color.
• Actual texture refers to the physical rendering or the real surface qualities we can observe past touching an object.
• Visible brushstrokes and different amounts of paint will create a physical texture that can add to the expressiveness of a painting and depict attention to specific areas inside it.
• It is possible for an artwork to contain numerous visual textures simply all the same remain smooth to the touch.

Key Terms

• tactile:Tangible; perceptible to the sense of touch.

Texture

Texture in art stimulates the senses of sight and touch and refers to the tactile quality of the surface of the fine art. It is based on the perceived texture of the canvas or surface, which includes the awarding of the paint. In the context of artwork, at that place are two types of texture: visual and actual. Visual texture refers to an implied sense of texture that the creative person creates through the use of various artistic elements such as line, shading and color. Bodily texture refers to the physical rendering or the real surface qualities we tin can notice past touching an object, such as paint awarding or iii-dimensional fine art.

It is possible for an artwork to contain numerous visual textures, nevertheless still remain shine to the touch on. Take for example Realist or Illusionist works, which rely on the heavy use of paint and varnish, yet maintain an utterly smooth surface. In Jan Van Eyck's painting "The Virgin of Chancellor Rolin" we tin notice a not bad deal of texture in the wear and robes peculiarly, while the surface of the work remains very smooth .

Jan van Eyck, The Virgin of Chancellor Rolin, 1435: The Virgin of Chancellor Rolin has a neat deal of texture in the clothing and robes, but the actual surface of the work is very smooth.

Paintings oftentimes use actual texture also, which we tin observe in the physical application of paint. Visible brushstrokes and different amounts of paint volition 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 corking deal of actual texture in his paintings, noticeable in the thick awarding of paint in such paintings as Starry Night.

Vincent van Gogh, The Starry Night, 1889: The Starry Night contains a bang-up deal of actual texture through the thick application of paint.

Shape and Volume

Shape 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 place means they are represented in art

Key Takeaways

Key Points

• "Positive space " refers to the space of the divers shape or figure.
• "Negative space" refers to the space that exists around and between ane or more shapes.
• A " airplane " in art refers to any surface area inside space.
• " Grade " is a concept that is related to shape and can be created by combining ii or more shapes, resulting in a three-dimensional shape.
• Fine art makes use of both bodily and implied volume .
• Shape, volume, and space, whether actual or implied, are the basis of the perception of reality.

Key Terms

• course:The shape or visible structure of an artistic expression.
• volume:A unit of measurement of three-dimensional measure of space that comprises a length, a width, and a peak.
• plane:A flat surface extending infinitely in all directions (e.g., horizontal or vertical plane).

Shape refers to an expanse in two-dimensional infinite that is divers by edges. Shapes are, past definition, e'er flat in nature and can be geometric (east.g., a circle, foursquare, or pyramid) or organic (e.g., a leafage 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 equally a painting of an object floating in water.

"Positive space" refers to the space of the divers shape, or effigy. Typically, the positive infinite is the subject of an artwork. "Negative infinite" refers to the space that exists around and between ane or more shapes. Positive and negative infinite can go difficult to distinguish from each other in more than abstract works.

A "aeroplane" refers to whatever surface surface area within space. In two-dimensional art, the " pic aeroplane " is the flat surface that the image is created upon, such as paper, canvas, or wood. Three-dimensional figures may be depicted on the flat moving-picture show plane through the use of the artistic elements to imply depth and volume, as seen in the painting Small Bouquet of Flowers in a Ceramic Vase by Jan Brueghel the Elderberry.

Jan Brueghel the Elderberry, Small Bouquet of Flowers in a Ceramic Vase, 1599: Three-dimensional figures may be depicted on the flat movie airplane through the utilise of the creative elements to imply depth and volume.

"Form" is a concept that is related to shape. Combining two or more shapes can create a 3-dimensional shape. Form is ever considered three-dimensional as it exhibits volume—or height, width, and depth. Art makes utilize of both actual and unsaid book.

While three-dimensional forms, such as sculpture, have book inherently, volume tin also exist simulated, or implied, in a two-dimensional piece of work such equally a painting. Shape, book, and space—whether actual or implied—are the ground of the perception of reality.

Fourth dimension and Movement

Motion, a principle of art, is a tool artists use to organize the artistic elements in a piece of work; it is employed in both static and fourth dimension-based mediums.

Learning Objectives

Name some techniques and mediums used by artists to convey motion in both static and time-based fine art forms

Key Takeaways

Key Points

• Techniques such as calibration and proportion are used to create the feeling of motion or the passing of time in static a visual slice.
• The placement of a repeated element in different area within an artwork is some other fashion to imply move and the passing of time.
• Visual experiments in time and motion were first produced in the mid-19th century, and the photographer Eadweard Muybridge is well-known for his sequential shots.
• The time-based mediums of film, video, kinetic sculpture , and functioning art employ time and movement by their very definitions.

Primal Terms

• frames per second:The number of times an imaging device produces unique consecutive images (frames) in one second. Abbreviation: FPS.
• static:Stock-still in identify; having no motion.

Motion, or movement, is considered to exist one of the "principles of art"; that is, one of the tools artists utilize to organize the artistic elements in a piece of work of art. Motion is employed in both static and in time-based mediums and can prove a direct activity or the intended path for the viewer 'due south eye to follow through a piece.

Techniques such as scale and proportion are used to create the feeling of motion or the passing of time in static visual artwork. For example, on a flat picture plane , an image that is smaller and lighter colored than its surroundings will appear to exist in the background. Another technique for implying motion and/or fourth dimension is the placement of a repeated element in different areas within an artwork.

Visual experiments in time and motion were get-go produced in the mid-19th century. The photographer Eadweard Muybridge is well known for his sequential shots of humans and animals walking, running, and jumping, which he displayed together to illustrate the motility of his subjects. Marcel Duchamp'due south Nude Descending a Staircase, No. 2 exemplifies an absolute feeling of motion from the upper left to lower correct corner of the piece.

Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912: This work represents Duchamp's formulation of motility and time.

While static art forms have the power to imply or suggest fourth dimension and motion, the time-based mediums of film, video, kinetic sculpture, and performance art demonstrate fourth dimension and movement by their very definitions. Film is many static images that are quickly passed through a lens. Video is essentially the same procedure, but digitally-based and with fewer frames per 2d . Performance fine art takes place in real fourth dimension and makes use of real people and objects, much like theater. Kinetic art is fine art that moves, or depends on move, for its upshot. All of these mediums use time and movement as a key aspect of their forms of expression.

Run a risk, Improvisation, and Spontaneity

Dadaism, Surrealism, and the Fluxus motility all relied on the elements of chance, improvisation, and spontaneity equally tools for making art works.

Learning Objectives

Describe how Dadaism, Surrealism, and the Fluxus movement relied on run a risk, improvisation, and spontaneity

Central Takeaways

Key Points

• Dadaists are known for their "automatic writing" or stream of consciousness writing, which highlights the inventiveness of the unconscious mind.
• Surrealist works, much like Dadaist works, often characteristic an element of surprise, unexpected juxtaposition , and tapping into the unconscious mind.
• Surrealists are known for having invented " exquisite corpse" drawing.
• The Fluxus motility was known for its " happenings ," which were performance events or situations that could accept identify anywhere, in whatsoever course , and relied heavily on chance, improvisation, and audience participation.

Primal Terms

• happening:A spontaneous or improvised consequence, especially one that involves audition participation.
• assemblage:A drove of things which have been gathered together..

Take chances, improvisation, and spontaneity are elements that can be used to create art, or they tin can exist the very purpose of the artwork itself. Whatsoever medium tin use these elements at whatsoever point within the artistic process.

Marcel Duchamp, Urinal, 1917: Marcel Duchamp's Urinal is an case of a "ready-made," which were objects that were purchased or found and then alleged art.

Dadaism

Dadaism was an art move popular in Europe in the early 20th century. It was started by artists and poets in Zurich, Switzerland with stiff anti-state of war and left-leaning sentiments. The movement rejected logic and reason and instead prized irrationality, nonsense, and intuition. Marcel Duchamp was a dominant fellow member of the Dadaist move, known for exhibiting "ready-mades," which were objects that were purchased or found then declared art.

Dadaists used what was readily available to create what was termed an "assemblage," using items such as photographs, trash, stickers, bus passes, and notes. The work of the Dadaists involved hazard, improvisation, and spontaneity to create art. They are known for using "automatic writing" or stream of consciousness writing, which often took nonsensical forms, simply allowed for the opportunity of potentially surprising juxtapositions and unconscious creativity.

Surrealism

The Surrealist movement, which adult out of Dadaism primarily every bit a political movement, featured an chemical element of surprise, unexpected juxtaposition and the tapping of the unconscious mind. Andre Breton, an of import fellow member of the movement, wrote the Surrealist manifesto, defining it as follows:

"Surrealism, n. Pure psychic automatism , by which i proposes to limited, either verbally, in writing, or by any other manner, the real functioning of idea. Dictation of idea in the absenteeism of all control exercised by reason, outside of all aesthetic and moral preoccupation. "

Like Dadaism earlier it, the Surrealist movement stressed the unimportance of reason and planning and instead relied heavily upon chance and surprise every bit a tool to harness the creativity of the unconscious mind. Surrealists are known for having invented "exquisite corpse" drawing, an practise where words and images are collaboratively assembled, one after some other. Many Surrealist techniques, including exquisite corpse drawing, allowed for the playful cosmos of art through assigning value to spontaneous production.

The Fluxus motion

The Fluxus movement of the 1960s was highly influenced by Dadaism. Fluxus was an international network of artists that skillfully blended together many dissimilar disciplines, and whose work was characterized by the use of an extreme practise-it-yourself (DIY) aesthetic and heavily intermedia artworks. In addition, Fluxus was known for its "happenings," which were multi-disciplinary operation events or situations that could take place anywhere. Audience participation was essential in a happening, and therefore relied on a great bargain 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 office of the fine art.

Inclusion of All Five Senses

The inclusion of the v human senses in a single work takes identify about frequently in installation and operation fine art.

Learning Objectives

Explain how installation and performance art include the 5 senses of the viewer

Fundamental Takeaways

Fundamental Points

• In contemporary art, it is quite common for piece of work to cater to the senses of sight, touch on, and hearing, while it is somewhat less common to accost smell and sense of taste.
• "Gesamtkunstwerk," or "total piece of work of art," is a German language word that refers to an artwork that attempts to address all five man senses.
• Installation art is a genre of three-dimensional artwork that is designed to transform the viewer 's perception of a space .
• Virtual reality is a term that refers to computer-simulated environments.

Key Terms

• happening:A spontaneous or improvised event, particularly one that involves audience participation.
• virtual reality:A reality based in the estimator.

The inclusion of the 5 human senses in a single work takes place nearly often in installation and performance-based art. In add-on, works that strive to include all senses at once more often than not make utilize of some grade 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 gimmicky art, information technology is quite common for work to cater to the senses of sight, touch, and hearing, while somewhat less mutual for fine art to address the senses of scent and sense of taste.

The German word "Gesamtkunstwerk," meaning "full piece of work of art," refers to a genre of artwork that attempts to address all five man senses. The concept was brought to prominence by the German opera composer Richard Wagner in 1849. Wagner staged an opera that sought to unite the fine art forms, which he felt had become overly disparate. Wagner'south operas paid great attention to every detail in order to achieve a state of total artistic immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , but has evolved from Wagner's definition to mean the inclusion of the v senses in art.

Installation fine art is a genre of three-dimensional artwork that is designed to transform the viewer's perception of a space. Embankment by Rachel Whiteread exemplifies this type of transformation. The term generally pertains to an interior space, while Country Art typically refers to an outdoor space, though there is some overlap between these terms. The Fluxus motility of the 1960s is fundamental to the development of installation and performance art as mediums.

Rachel Whiteread, Beach, 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 figurer-simulated environments. Currently, near virtual reality environments are visual experiences, but some simulations include additional sensory data. 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 subject 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 non video games should exist considered art remains undecided.

Compositional Balance

Compositional 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 residue in a work of art

Key Takeaways

Key Points

• A harmonious compositional residuum involves arranging elements so that no one part of a work overpowers or seems heavier than whatsoever other part.
• The 3 most common types of compositional balance are symmetrical, asymmetrical, and radial .
• When counterbalanced, a limerick appears stable and visually right. Merely every bit symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" appear, the overall balance of a given composition contributes to exterior judgments of the piece of work.

Key Terms

• radial:Arranged like rays that radiate from, or converge to, a common center.
• symmetry:Exact correspondence on either side of a dividing line, airplane, center, or axis. The satisfying organisation of a balanced distribution of the elements of a whole.
• disproportion:Want of symmetry, or proportion betwixt the parts of a thing, especially want of bilateral symmetry. Lacking a common measure between two objects or quantities; Incommensurability. That which causes something to not exist symmetrical.

Compositional balance refers to the placement of the elements of art (color, grade , line , shape, infinite , texture , and value) in relation to each other. When balanced, a composition appears more stable and visually pleasing. Just equally symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" appear, the overall balance of a given limerick contributes to exterior judgments of the work.

Creating a harmonious compositional rest involves arranging elements so that no single part of a work overpowers or seems heavier than any other part. The three most common types of compositional balance are symmetrical, asymmetrical, and radial.

Compositional balance: The 3 mutual types of residuum are symmetric, asymmetric, and radial.

Symmetrical balance is the most stable, in a visual sense, and more often than not 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 aeroplane are the aforementioned in terms of the sense that is created past the system 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'due south Vitruvian Man is frequently used every bit a representation of symmetry in the homo trunk and, by extension, the natural universe.

Asymmetry is defined every bit the absence of, or a violation of, the principles of symmetry. Examples of asymmetry announced normally in compages. Although pre-modern architectural styles tended to place an emphasis on symmetry (except where farthermost site atmospheric condition or historical developments lead away from this classical ideal), modern and postmodern architects oft used asymmetry as a design element. For instance, while about bridges utilize 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 bridge replacement of the San Francisco–Oakland Bay Bridge reflects asymmetrical architectural design.

Radial residue refers to round 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 circumvolve or sphere is the length of any such segment, which is half the diameter. The radius may exist more than than half the diameter, which is usually defined as the maximum distance between whatever ii points of the figure. The inradius of a geometric figure is ordinarily 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 proper name "radial" or "radius" comes from Latin radius, meaning "ray" but also the spoke of a round chariot cycle.

Rhythm

Artists utilise rhythm equally a tool to guide the centre of the viewer through works of fine art.

Learning Objectives

Recognize and interpret the utilize of rhythm in a work of art

Key Takeaways

Cardinal Points

• Rhythm may be by and large defined as a "motion marked by the regulated succession of potent and weak elements, or of reverse or different conditions" (Betimes. 1971).
• Rhythm may also refer to visual presentation as "timed movement through space " (Jirousek 1995), and a common linguistic communication of pattern unites rhythm with geometry.
• For case, placing a red spiral at the bottom left and top right, for example, will cause the centre to movement from one screw, to the other, and everything in between. It is indicating movement in the piece by the repetition of elements and, therefore, tin make artwork seem agile.

Key Terms

• symmetry:Exact correspondence on either side of a dividing line, aeroplane, centre or axis. The satisfying arrangement of a balanced distribution of the elements of a whole.

The principles of visual art are the rules, tools, and guidelines that artists use to organize the elements of in a slice of artwork. When the principles and elements are successfully combined, they aid in creating an aesthetically pleasing or interesting work of fine art. While there is some variation among them, movement, unity, harmony, diversity, balance, rhythm, emphasis, contrast , proportion, and design are ordinarily sited as principles of art.

Rhythm (from Greek rhythmos, "any regular recurring motility, symmetry " (Liddell and Scott 1996)) may exist generally defined as a "movement marked by the regulated succession of strong and weak elements, or of opposite or different atmospheric condition" (Betimes. 1971). This general significant of regular recurrence or pattern in time may be applied to a broad variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to millions of years. In the performing arts, rhythm is the timing of events on a human calibration, of musical sounds and silences, of the steps of a dance, or the meter of spoken language and poetry. Rhythm may too refer to visual presentation, every bit "timed movement through space" (Jirousek 1995), and a mutual linguistic communication of pattern unites rhythm with geometry.

In a visual limerick , pattern and rhythm are generally expressed by showing consistency with colors or lines . For case, placing a red spiral at the bottom left and acme correct, for example, will cause the eye to move from ane spiral, to the other, and then to the space in between. The repetition of elements creates motion of the viewer 'southward eye and can, therefore, brand the artwork feel active. Hilma af Klint'due south Svanen (The Swan) exemplifies the visual representation of rhythm using color and symmetry.

Hilma af Klint, Svanen (The Swan), 1914: Color and symmetry piece of work together in this painting to guide the eye of the viewer in a particular visual rhythm.

Proportion and Scale

Proportion is a measurement of the size and quantity of elements within a composition.

Learning Objectives

Utilise the concept of proportion to different works of art

Central Takeaways

Key Points

• Hierarchical proportion is a technique used in art, more often than not in sculpture and painting, in which the creative person uses unnatural proportion or scale to draw the relative importance of the figures in the artwork.
• Mathematically, proportion is the relation betwixt elements and a whole. In architecture, the whole is not only a building but the set and setting of the site.
• Among the various aboriginal creative traditions, the harmonic proportions, human being proportions, catholic orientations, various aspects of sacred geometry , and small whole-number ratios were all applied as office of the practice of architectural design.

Key Terms

• golden ratio:The irrational number (approximately ane·618), commonly denoted by the Greek letter of the alphabet φ (phi), which is equal to the sum of its own reciprocal and 1, or, equivalently, is such that the ratio of 1 to the number is equal to the ratio of its reciprocal to 1. Some twentieth-century artists and architects have proportioned their works to approximate this—especially in the grade of the golden rectangle, in which the ratio of the longer side to the shorter equals this number—believing this proportion to exist aesthetically pleasing.

Proportion is a measurement of the size and quantity of elements within a limerick . Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the artist uses unnatural proportion or scale to draw 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 betwixt proportion and perspective , and the illusion of three-dimensional space . Images of the human being body in exaggerated proportion were used to describe 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 gear up 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, pinnacle , and pick of materials all relate to a standard of architectural proportion.

Architecture has often used proportional systems to generate or constrain the forms considered suitable for inclusion in a edifice. In almost every building tradition, there is a organization of mathematical relations which governs the relationships between aspects of the blueprint. These systems of proportion are oft quite simple: whole number ratios or incommensurable ratios (such as the golden ratio) were determined using geometrical methods. Mostly, the goal of a proportional system is to produce a sense of coherence and harmony amongst the elements of a building.

Amongst the various aboriginal artistic traditions, the harmonic proportions, human proportions, catholic orientations, diverse aspects of sacred geometry, and small whole-number ratios were all applied as part of the practice of architectural design. For instance, the Greek classical architectural orders are all proportioned rather than dimensioned or measured modules, because the earliest modules were non based on body parts and their spans (fingers, palms, hands, and anxiety), only rather on column diameters and the widths of arcades and fenestrations .

Temple of Portanus: The Greek Temple of Portanus is an example of classical Greek compages with its tetrastyle portico of four Ionic columns.

Typically, ane 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 some other less delicate module—used for door and window trim, tile work, and roofing in Mesopotamia and Greece—was based on the proportions of the paw and the thumb.

Dating back to the Pythagoreans, in that location was an idea that proportions should exist related to standards, and that the more general and formulaic the standards, the better. This concept—that there should exist beauty and elegance evidenced by a skillful composition of well understood elements—underlies mathematics, art, and architecture. The classical standards are a series of paired opposites designed to expand the dimensional constraints of harmony and proportion.

Space

Space in fine art tin can be divers as the area that exists between 2 identifiable points.

Learning Objectives

Define infinite in art and listing ways it is employed past artists

Key Takeaways

Key Points

• The organization of space is referred to as composition and is an essential component to whatsoever work of art.
• The space of an artwork includes the background, foreground, and middle ground , every bit well as the distance between, around, and within things.
• At that place are two types of space: positive space and negative space.
• Afterward spending hundreds of years developing linear perspective , Western artistic notions about the accurate depiction of space went through a radical shift at the beginning of the 20th century.
• Cubism and subsequent modernist movements represented an important shift in the use of space within Western art, which is still being felt today.

Key Terms

• infinite:The distance or empty area between things.
• Cubism:An artistic movement in the early 20th century characterized past the depiction of natural forms as geometric structures of planes.

The organization of space in art is referred to equally limerick, and is an essential component of any piece of work of art. Infinite can be more often than not defined as the area that exists between any two identifiable points.

Space is conceived of differently in each medium . The space in a painting, for example, includes the background, foreground and middle ground, while iii-dimensional space, like sculpture or installation , will involve the distance between, around, and within points of the work. Space is farther categorized as positive or negative. "Positive space" can be defined equally the subject of an artwork, while "negative space" can be defined equally the space around the subject.

Over the ages, space has been conceived of in various ways. Artists take devoted a peachy bargain of time to experimenting with perspectives and degrees of flatness of the pictorial plane .

The perspective system has been a highly employed convention in Western art. Visually, it is an illusionist miracle, well suited to realism and the depiction of reality every bit it appears. After spending hundreds of years developing linear perspective, Western artistic conventions nigh the authentic depiction of space went through a radical shift at the outset of the 20th century. The innovations of Cubism and subsequent modernist movements represented an important shift in the utilize of space within Western fine art, the bear on of which is still being felt.

Pablo Picasso, Les Demoiselles d'Avignon, 1907: Les Demoiselles d'Avignon is an example of cubist fine art, which has a trend to flatten the motion-picture show plane, and its apply of abstract shapes and irregular forms suggest multiple points of view within a single paradigm.

Two-Dimensional Infinite

2-dimensional, or bi-dimensional, space is a geometric model of the planar projection of the physical universe in which nosotros live.

Learning Objectives

Discuss 2-dimensional space in art and the concrete properties on which it is based

Key Takeaways

Central Points

• In physical terms, dimension refers to the constituent structure of all space and its position in fourth dimension.
• Drawing is a course of visual fine art that makes utilize of any number of instruments to mark a two-dimensional medium .
• Almost whatsoever dimensional course tin can exist represented by some combination of the cube, sphere, cylinder, and cone. In one case these bones shapes accept been assembled into a likeness, then the cartoon can be refined into a more accurate and polished form.

Fundamental Terms

• dimension:A unmarried attribute of a given thing. A measure of spatial extent in a detail direction, such as meridian, width or breadth, or depth.
• Two-Dimensional:Existing in two dimensions. Not creating the illusion of depth.
• Planar:Of or pertaining to a plane. Flat, two-dimensional.

Two dimensional, or bi-dimensional, space is a geometric model of the planar projection of the concrete universe in which we live. The ii dimensions are ordinarily chosen length and width. Both directions lie on the same plane . In physics, our bi-dimensional infinite is viewed equally a planar representation of the infinite in which we motion.

Mathematical depiction of bi-dimensional infinite: Bi-dimensional Cartesian coordinate system.

In fine art composition , drawing is a class of visual art that makes utilise of any number of drawing instruments to mark a two-dimensional medium (pregnant that the object does non accept depth). Ane 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 cartoon more universal than nigh other media.

Measuring the dimensions of a subject while blocking in the cartoon is an important footstep in producing a realistic rendition of a bailiwick. Tools such as a compass tin be used to mensurate the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to brand sure they are accurate. Some other form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a indicate forth the cartoon implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions. When attempting to draw a complicated shape such equally a homo figure, it is helpful at beginning to correspond the form with a set of primitive shapes.

Well-nigh any dimensional form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these bones shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished class. The lines of the archaic shapes are removed and replaced past the final likeness. A more than refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human being proportions. A trained artist is familiar with the skeleton construction, joint location, musculus placement, tendon movement, and how the different parts work together during motion. This allows the artist to return more natural poses that do not announced artificially strong. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.

Drawing man figures: Henri de Toulouse-Lautrec's Madame Palmyre with Her Dog, 1897.

Linear Perspective and Three-Dimensional Infinite

Perspective is an approximate representation on a flat surface of an epitome as it is seen past the center.

Learning Objectives

Explain perspective and its touch on art composition

Key Takeaways

Primal Points

• Systematic attempts to evolve a organisation of perspective are commonly considered to have begun around the 5th century B.C. in the art of Aboriginal Greece.
• The primeval art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer .
• In Medieval Europe, the use and composure of attempts to convey distance increased steadily but without a footing in a systematic theory.
• By the Renaissance , about every artist in Italy used geometrical perspective in their paintings, both to portray depth and also as a new and "of the moment" compositional method.

Key Terms

• curvilinear:Having bends; curved; formed by curved lines.
• horizon line:A horizontal line in perspective cartoon, directly contrary the viewer'due south heart and frequently implied, that represents objects infinitely far away and determines the angle or perspective from which the viewer sees the work.
• vanishing bespeak:The point in a perspective drawing at which parallel lines receding from an observer seem to converge.
• Perspective:The technique of representing three-dimensional objects on a two-dimensional surface.

In art, perspective is an approximate representation on a flat surface of an image as it is seen by the eye, calculated by bold a particular vanishing point . Systematic attempts to evolve a organisation of perspective are normally considered to take begun effectually the 5th century BCE in the art of Aboriginal Greece. Past the later periods of antiquity , artists—specially those in less pop traditions—were well aware that distant objects could be shown smaller than those shut at hand for increased illusionism. Only 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.

The primeval art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, not their altitude from the viewer. The most important figures are often shown as the highest in a composition , likewise from hieratic motives, leading to the "vertical perspective" common in the art of Ancient Egypt , where a group of "nearer" figures are shown below the larger figure(s).

The art of the Migration Period had no tradition of attempting compositions of large numbers of figures, and Early on Medieval art was irksome and inconsistent in relearning the convention from classical models, though the process can be seen underway in Carolingian art. European Medieval artists were enlightened of the general principle of varying the relative size of elements according to distance, and utilize and sophistication of attempts to convey distance increased steadily during the menstruum, but without a basis in a systematic theory.

By the Renaissance, however, nearly every creative person in Italy used geometrical perspective in their paintings. Not only was this use of perspective a mode to portray depth, but it was also a new method of composing a painting. Paintings began to show a unmarried, unified scene, rather than a combination of several. For a while, perspective remained the domain of Florence. Gradually, and partly through the movement of academies of the arts, the Italian techniques became part of the training of artists across Europe and, later, other parts of the world.

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 cartoon has one-point perspective when it contains only i vanishing point on the horizon line . This blazon of perspective is typically used for images of roads, railway tracks, hallways, or buildings viewed so that the forepart is straight facing the viewer. Any objects that are fabricated up of lines either straight parallel with the viewer's line of sight or direct perpendicular (the railroad slats) tin be represented with one-point perspective. These parallel lines converge at the vanishing point.

Two-point perspective can be used to draw the aforementioned objects equally one-point perspective, but rotated—such as looking at the corner of a business firm, or looking at two forked roads compress into the distance. In looking at a house from the corner, for instance, one wall would recede towards i vanishing point and the other wall would recede towards the contrary vanishing bespeak.

3-point perspective is used for buildings depicted from higher up or beneath. In addition to the 2 vanishing points from before, one for each wall, there is now a third one for how those walls recede into the ground . This third vanishing indicate would exist below the basis.

Four-betoken perspective is the curvilinear variant of two-bespeak perspective. The resulting elongated frame can exist used both horizontally and vertically. Like all other foreshortened variants of perspective, four-point perspective starts off with a horizon line, followed past four as spaced vanishing points to delineate four vertical lines. Considering vanishing points be just when parallel lines are nowadays in the scene, a perspective with no vanishing points ("zero-signal") occurs if the viewer is observing a non-rectilinear scene. The most common instance of a nonlinear scene is a natural scene (e.yard., a mountain range), which ofttimes does not contain any parallel lines. A perspective without vanishing points can however create a sense of depth.

Distortions of Space and Foreshortening

Distortion is used to create diverse representations of space in two-dimensional works of fine art.

Learning Objectives

Identify how distortion is both employed and avoided in works of fine art

Key Takeaways

Key Points

• Perspective projection distortion is the inevitable misrepresentation of three-dimensional space when drawn or "projected" onto a two-dimensional surface. It is incommunicable to accurately describe 3-dimensional reality on a 2-dimensional plane .
• However, there are several constructs bachelor which permit for seemingly accurate representation. Perspective projection tin exist used to mirror how the heart sees by the utilize of one or more vanishing points .
• Although baloney tin exist irregular or follow many patterns, the most unremarkably encountered distortions in composition , especially in photography, are radially symmetric, or approximately so, arising from the symmetry of a photographic lens.

Key Terms

• radial:Arranged similar rays that radiate from, or converge into, a common centre
• project:The image that a translucent object casts onto another object.
• foreshortening:A technique for creating the appearance that the object of a drawing is extending into space past shortening the lines with which that object is drawn.

A distortion is the alteration of the original shape (or other feature) of an object, image, sound, or other course of data or representation. Distortion can be wanted or unwanted by the creative person. Distortion is unremarkably unwanted when it concerns concrete degradation of a work. Nonetheless, it is more usually referred to in terms of perspective, where it is employed to create realistic representations of space in two-dimensional works of art.

Perspective Projection Baloney

Perspective projection baloney is the inevitable misrepresentation of iii-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. Yet, at that place 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 centre sees by making use of ane or more vanishing points.

Giotto, Lamentation (The Mourning of Christ), 1305–1306: Giotto is one of the well-nigh notable pre-Renaissance artists to recognize distortion on 2-dimensional planes.

Foreshortening

Foreshortening is the visual effect or optical illusion that causes an object or altitude to announced shorter than information technology 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 ii-dimensional representations of three-dimensional scenes, such as oblique parallel projection drawings.

The physiological basis of visual foreshortening was undefined until the year 1000 when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, starting time explained that light projects conically into the eye. A method for presenting foreshortened geometry systematically onto a plane surface was unknown for some other 300 years. The creative person Giotto may have been the first to recognize that the image beheld by the eye is distorted: to the heart, parallel lines appear to intersect (like the distant edges of a path or road), whereas in "undistorted" nature, they do not. In many of Giotto's paintings, perspective is employed to reach diverse baloney effects.

Foreshortening: This painting illustrates Melozzo da Forlì's usage of upwardly 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 bespeak. These projectors intersect with an imaginary plane of projection and an prototype is created on the aeroplane by the points of intersection. The resulting prototype on the projection plane reproduces the image of the object as it is beheld from the station point.

Radial baloney can usually be classified every bit 1 of two principal types: barrel distortion and pincushion distortion. Barrel baloney occurs when image magnification decreases with distance from the optical axis. The apparent result is that of an image which has been mapped around a sphere (or butt). Fisheye lenses, which take hemispherical views, utilize this type of distortion equally a mode to map an infinitely broad object plane into a finite epitome area.

On the other hand, in pincushion distortion, the image magnification increases with the distance from the optical centrality. The visible effect is that lines that do not go through the center of the paradigm are bowed inwards, towards the heart of the image, like a pincushion. A sure amount of pincushion distortion is often constitute with visual optical instruments (i.e., binoculars), where information technology serves to eliminate the world effect.

Cylindrical perspective is a form of distortion acquired by fisheye and panoramic lenses, which reproduce directly horizontal lines above and below the lens axis level every bit curved, while reproducing straight horizontal lines on lens axis level as direct. This is too a mutual feature of wide-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is just barrel distortion, but just in the horizontal plane. It is an artifact of the squeezing process that anamorphic lenses practise to fit widescreen images onto standard-width film.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/visual-elements/

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