Work of Art That Has All Visual Design Elements

Line

A line is defined as a mark that connects the space betwixt two points, taking any form along the manner.

Learning Objectives

Compare and dissimilarity different uses of line in art

Primal Takeaways

Key Points

• Actual lines are lines that are physically present, existing every bit solid connections between one or more than points.
• Unsaid line refers to the path that the viewer 's eye takes equally it follows shapes, colors, and forms along any given path.
• Straight or classic lines provide stability and structure to a composition and can be vertical, horizontal, or diagonal on a work'southward surface.
• Expressive lines refer to curved marks that increase the sense of dynamism of a work of fine art.
• The outline or profile lines create a border or path effectually the edge of a shape, thereby outlining and defining it. "Cross profile lines" delineate differences in the features of a surface.
• Hatch lines are a serial of short lines repeated in intervals, typically in a single direction, and are used to add together shading and texture to surfaces, while cross-hatch lines provide boosted texture and tone to the image surface and can exist oriented in any direction.

Key Terms

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

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

In that location are many different types of lines, all characterized past their lengths being greater than their width, likewise as by the paths that they have. Depending on how they are used, lines help to determine the motion, management, and energy of a work of art. The quality of a line refers to the grapheme that is presented past a line in order to animate a surface to varying degrees.

Actual lines are lines that are physically present, existing as solid connections betwixt one or more points, while implied lines refer to the path that the viewer'south center takes as it follows shape, colour, and form inside an fine art work. Unsaid lines give works of art a sense of motility and continue the viewer engaged in a composition. We can see numerous unsaid lines in Jacques-Louis David'south Adjuration of the Horatii, connecting the figures and actions of the piece by leading the eye of the viewer through the unfolding drama.

Jacques-Louis David, Oath of the Horatii, 1784: Many unsaid lines connect the figures and action of the piece by leading the heart 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 piece of work. Expressive lines refer to curved marks that increment the sense of dynamism of a work of art. These types of lines often 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 can give the illusion of three dimensions or a sense of form or shading.

Hatch lines are a series of short lines repeated in intervals, typically in a unmarried direction, and are used to add shading and texture to surfaces. Cross-hatch lines provide additional texture and tone to the image surface and can be oriented in any direction. Layers of cross-hatching can add together rich texture and book to image surfaces.

Low-cal and Value

Value refers to the use of light and dark in art.

Learning Objectives

Explain the artistic use of light and night (too known as "value")

Key Takeaways

Fundamental Points

• In painting, value changes are achieved by adding black or white to a colour.
• Value in fine art is as well sometimes referred to as " tint " for lite hues and "shade" for dark hues.
• Values nearly the lighter end of the spectrum are termed "loftier-keyed" while those on the darker stop are chosen "low-keyed."
• In two-dimensional art works, the use of value tin can assist to give a shape the illusion of mass or book .
• Chiaroscuro was a mutual technique in Baroque painting and refers to clear tonal contrasts exemplified by very high-keyed whites, placed direct against very depression-keyed darks.

Key Terms

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

The utilize of light and dark in art is called value. Value can be subdivided into tint (low-cal hues) and shade (night hues). In painting, which uses subtractive color, value changes are achieved by calculation black or white to a color. Artists may likewise employ shading, which refers to a more subtle manipulation of value. The value scale is used to show the standard variations in tones . Values most the lighter end of the spectrum are termed loftier-keyed, while those on the darker end are depression-keyed.

Value scale: The value scale represents dissimilar degrees of calorie-free used in artwork.

In two-dimensional artworks, the use of value tin can help to give a shape the illusion of mass or volume. It will too give the entire composition a sense of lighting. High dissimilarity refers to the placing of lighter areas directly against much darker ones, so their difference is showcased, creating a dramatic effect. High contrast too 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.

In Bizarre painting, the technique of chiaroscuro was used to produce highly dramatic effects in art. Chiaroscuro, which means literally "calorie-free-nighttime" in Italian, refers to clear tonal contrasts exemplified past very high-keyed whites, placed directly against very low-keyed darks. Candlelit scenes were mutual in Baroque painting as they effectively produced this dramatic type of issue. Caravaggio used a high contrast palette in such works as The Deprival of St. Peter to create his expressive chiaroscuro scene.

Caravaggio, The Denial of St. Peter, 1610: Caravaggio'southward The Deprival of St. Peter is an excellent instance of how light can exist 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 most important elements of color theory and artists' employ of color

Key Takeaways

Primal Points

• Color theory beginning appeared in the 17th century, when Isaac Newton discovered that white low-cal could exist passed through a prism and divided into the total spectrum of colors.
• The spectrum of colors contained in white lite are crimson, orange, yellow, green, blue, indigo , and violet.
• Color theory divides colour into the " primary colors " of red, yellow, and blueish, which cannot be mixed from other pigments, and the "secondary colors" of green, orange, and violet, which result from dissimilar combinations of the primary colors.
• Main and secondary colors are combined in various mixtures to create tertiary colors.
• Complementary colors are found opposite each other on the colour cycle and represent the strongest contrast for those particular ii colors.

Key Terms

• complementary color:A color which is regarded as the opposite of another on the colour bicycle (i.eastward., scarlet and light-green, yellow and purple, and orange and blue).
• value:The relative darkness or lightness of a color in a specific area of a painting or other visual fine 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 like colors. Red and blueish are different colors, only two shades of scarlet are different tints.
• gradation:A passing by pocket-size degrees from one tone or shade, as of color, to another.
• hue:A color, or shade of colour.

Color is a central artistic chemical element which refers to the utilize of hue in art and design. It is the most complex of the elements considering of the wide assortment of combinations inherent to it. Color theory first appeared in the 17th century when Isaac Newton discovered that white light could exist passed through a prism and divided into the full spectrum of colors. The spectrum of colors contained in white light are, in social club: cherry-red, orange, yellow, light-green, blue, indigo and violet.

Color theory subdivides color into the "primary colors" of red, yellow, and blue, which cannot exist mixed from other pigments; and the "secondary colors" of greenish, orangish and violet, which issue from dissimilar combinations of the primary colors. Chief and secondary colors are combined in diverse mixtures to create "tertiary colors." Color theory is centered around the color bike, a diagram that shows the relationship of the various colors to each other .

Color wheel: The color bike 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 of import 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 Color

Condiment color is color created past mixing red, green, and bluish lights. Television screens, for example, use additive color as they are made up of the primary colors of red, bluish and green (RGB). Subtractive color,  or "procedure color," works equally the reverse of additive colour and the primary colors go cyan, magenta, yellow, and black (CMYK). Common applications of subtractive color can be found in printing and photography.

Complementary Color

Complementary colors can exist institute directly reverse each other on the color cycle (imperial and xanthous, greenish and ruddy, orange and bluish). When placed side by side to each other, these pairs create the strongest contrast for those particular two colors.

Warm and Cool Colour

The distinction between warm and absurd 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 grayness or overcast twenty-four hour period. Warm colors are the hues from cerise through yellowish, browns and tans included. Cool colors, on the other hand, are the hues from blue green through blue violet, with near grays included. Color theory has described perceptual and psychological furnishings to this contrast. Warm colors are said to advance or appear more than active in a painting, while cool colors tend to recede. Used in interior blueprint or fashion, warm colors are said to arouse or stimulate the viewer , while cool colors at-home and relax.

Texture

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

Learning Objectives

Recognize the use of texture in art

Cardinal Takeaways

Central Points

• Visual texture refers to an unsaid sense of texture that the artist creates through the utilize of various creative elements such as line , shading, and color.
• Actual texture refers to the concrete rendering or the real surface qualities nosotros can notice past touching an object.
• Visible brushstrokes and unlike amounts of paint will create a physical texture that can add together to the expressiveness of a painting and draw attention to specific areas inside information technology.
• It is possible for an artwork to contain numerous visual textures but still remain smooth to the touch.

Central Terms

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

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 canvass or surface, which includes the application of the paint. In the context of artwork, there are two types of texture: visual and bodily. 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 colour. Actual texture refers to the concrete rendering or the existent surface qualities we can detect past touching an object, such equally pigment application or three-dimensional art.

Information technology is possible for an artwork to contain numerous visual textures, yet still remain shine to the bear upon. Accept for example Realist or Illusionist works, which rely on the heavy utilise of pigment and varnish, yet maintain an utterly shine surface. In Jan Van Eyck's painting "The Virgin of Chancellor Rolin" we can notice a great deal of texture in the clothing and robes especially, 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 nifty deal of texture in the clothing and robes, just the bodily surface of the piece of work is very smooth.

Paintings oft apply actual texture as well, which we can detect in the physical awarding 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 inside it. The creative person Vincent van Gogh is known to have used a bang-up deal of actual texture in his paintings, noticeable in the thick application of paint in such paintings every bit Starry Night.

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

Shape and Volume

Shape refers to an area in a 2-dimensional infinite that is defined by edges; volume is 3-dimensional, exhibiting height, width, and depth.

Learning Objectives

Define shape and volume and identify ways they are represented in art

Key Takeaways

Key Points

• "Positive infinite " refers to the space of the defined shape or figure.
• "Negative space" refers to the infinite that exists around and between i or more shapes.
• A " plane " in art refers to any surface surface area within space.
• " Course " is a concept that is related to shape and can exist created by combining ii or more shapes, resulting in a 3-dimensional shape.
• Art makes employ of both bodily and unsaid volume .
• Shape, volume, and infinite, whether bodily or implied, are the ground of the perception of reality.

Key Terms

• class:The shape or visible structure of an artistic expression.
• book:A unit of three-dimensional measure out of infinite that comprises a length, a width, and a height.
• aeroplane:A flat surface extending infinitely in all directions (east.1000., horizontal or vertical plane).

Shape refers to an area in two-dimensional space that is divers by edges. Shapes are, by definition, always flat in nature and can be geometric (east.m., a circumvolve, square, or pyramid) or organic (e.g., a leaf or a chair). Shapes can exist created by placing two different textures , or shape-groups, side by side to each other, thereby creating an enclosed area, such every bit a painting of an object floating in h2o.

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

A "plane" refers to any area within space. In two-dimensional art, the " picture plane " is the flat surface that the image is created upon, such as newspaper, canvas, or wood. Three-dimensional figures may be depicted on the flat picture 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 Elder, Pocket-sized 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 book.

"Form" is a concept that is related to shape. Combining 2 or more than shapes can create a three-dimensional shape. Form is ever considered three-dimensional as information technology exhibits volume—or pinnacle, width, and depth. Art makes utilize of both bodily and implied volume.

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

Time 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

Proper noun 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 equally scale 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 dissimilar area within an artwork is another way to imply move and the passing of time.
• Visual experiments in time and move 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 motion picture, video, kinetic sculpture , and performance art employ time and motion past their very definitions.

Central Terms

• frames per second:The number of times an imaging device produces unique sequent images (frames) in one second. Abridgement: FPS.
• static:Fixed in place; having no motion.

Motion, or move, is considered to be i of the "principles of art"; that is, one of the tools artists use to organize the artistic elements in a piece of work of art. Motion is employed in both static and in fourth dimension-based mediums and can show a direct action or the intended path for the viewer 's 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 airplane , an paradigm that is smaller and lighter colored than its surroundings will appear to be in the background. Another technique for implying motion and/or time is the placement of a repeated element in different areas inside an artwork.

Visual experiments in time and motion were start 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 motion of his subjects. Marcel Duchamp's Nude Descending a Staircase, No. 2 exemplifies an absolute feeling of movement 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 conception of motion and fourth dimension.

While static art forms accept the ability to imply or suggest time and motion, the time-based mediums of film, video, kinetic sculpture, and operation art demonstrate time and movement past their very definitions. Moving picture is many static images that are speedily passed through a lens. Video is essentially the same process, merely digitally-based and with fewer frames per second . Performance fine art takes identify in real fourth dimension 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 utilize time and movement every bit a cardinal aspect of their forms of expression.

Chance, Improvisation, and Spontaneity

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

Learning Objectives

Depict how Dadaism, Surrealism, and the Fluxus movement relied on take chances, improvisation, and spontaneity

Central Takeaways

Key Points

• Dadaists are known for their "automatic writing" or stream of consciousness writing, which highlights the creativity of the unconscious heed.
• Surrealist works, much similar Dadaist works, frequently feature an chemical element of surprise, unexpected juxtaposition , and tapping into the unconscious mind.
• Surrealists are known for having invented " exquisite corpse" drawing.
• The Fluxus motion was known for its " happenings ," which were performance events or situations that could take identify anywhere, in any form , and relied heavily on adventure, improvisation, and audience participation.

Key Terms

• happening:A spontaneous or improvised event, especially one that involves audience participation.
• aggregation:A collection of things which have been gathered together..

Chance, improvisation, and spontaneity are elements that can be used to create fine art, or they can exist the very purpose of the artwork itself. Any medium can utilise these elements at any point within the artistic procedure.

Marcel Duchamp, Urinal, 1917: Marcel Duchamp's Urinal is an example of a "ready-fabricated," which were objects that were purchased or constitute so alleged art.

Dadaism

Dadaism was an art move pop 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 move rejected logic and reason and instead prized irrationality, nonsense, and intuition. Marcel Duchamp was a dominant fellow member of the Dadaist motion, known for exhibiting "prepare-mades," which were objects that were purchased or found and and then declared art.

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

Surrealism

The 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 motility, wrote the Surrealist manifesto, defining it equally follows:

"Surrealism, n. Pure psychic automatism , by which one proposes to express, either verbally, in writing, or past whatsoever other manner, the real functioning of thought. Dictation of thought in the absenteeism of all control exercised by reason, outside of all aesthetic and moral preoccupation. "

Like Dadaism before it, the Surrealist movement stressed the unimportance of reason and planning and instead relied heavily upon run a risk and surprise as a tool to harness the creativity of the unconscious listen. Surrealists are known for having invented "exquisite corpse" cartoon, 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 motility

The Fluxus motion of the 1960s was highly influenced by Dadaism. Fluxus was an international network of artists that skillfully composite together many unlike disciplines, and whose work was characterized by the employ of an extreme do-it-yourself (DIY) artful 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. Audition 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 Senses

The inclusion of the five human senses in a single piece of work takes identify most oft in installation and operation fine art.

Learning Objectives

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

Cardinal Takeaways

Key Points

• In contemporary fine art, it is quite common for work to cater to the senses of sight, touch, and hearing, while information technology is somewhat less common to address smell and sense of taste.
• "Gesamtkunstwerk," or "total piece of work of fine art," is a German give-and-take that refers to an artwork that attempts to address all five homo senses.
• Installation art is a genre of three-dimensional artwork that is designed to transform the viewer 'southward perception of a space .
• Virtual reality is a term that refers to calculator-false environments.

Fundamental Terms

• happening:A spontaneous or improvised outcome, especially one that involves audience participation.
• virtual reality:A reality based in the computer.

The inclusion of the five human senses in a single work takes identify virtually oftentimes in installation and operation-based fine art. In addition, works that strive to include all senses at once more often than not make employ of some form of interactivity, equally the sense of gustation 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 mutual for work to cater to the senses of sight, touch, and hearing, while somewhat less common for art to address the senses of olfactory property and taste.

The German word "Gesamtkunstwerk," significant "total work of art," refers to a genre of artwork that attempts to address all five human 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 art forms, which he felt had go overly disparate. Wagner's operas paid great attention to every detail in order to achieve a land of total artistic immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , just has evolved from Wagner'due south definition to mean the inclusion of the five senses in fine art.

Installation art is a genre of iii-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 State Art typically refers to an outdoor space, though at that place is some overlap betwixt these terms. The Fluxus motion of the 1960s is primal to the evolution of installation and performance art as mediums.

Rachel Whiteread, Embankment, 2005: Whiteread'southward installation Embankment is a type of art designed to transform the viewer's perception of infinite.

"Virtual reality" is a term that refers to figurer-simulated environments. Currently, near virtual reality environments are visual experiences, but some simulations include boosted sensory information. Immersive virtual reality has developed in recent years with the improvement of applied science and is increasingly addressing the five senses inside a virtual realm. Artists take been exploring the possibilities of these imitation and virtual realities with the expansion of the discipline of cyberarts, though what constitutes cyberart continues to be upwards for fence. Environments such every bit the virtual world of Second Life are by and large accepted, but whether or not video games should be considered art remains undecided.

Compositional Remainder

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 rest in a piece of work of art

Key Takeaways

Cardinal Points

• A harmonious compositional balance involves arranging elements so that no one part of a work overpowers or seems heavier than any other office.
• The iii nearly common types of compositional balance are symmetrical, asymmetrical, and radial .
• When balanced, a limerick appears stable and visually correct. Just as symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" announced, the overall balance of a given limerick contributes to outside judgments of the work.

Key Terms

• radial:Arranged like rays that radiate from, or converge to, a common centre.
• symmetry:Exact correspondence on either side of a dividing line, aeroplane, eye, or axis. The satisfying arrangement of a balanced distribution of the elements of a whole.
• asymmetry:Want of symmetry, or proportion between the parts of a thing, especially want of bilateral symmetry. Lacking a common mensurate between two objects or quantities; Incommensurability. That which causes something to non be symmetrical.

Compositional residuum 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 limerick appears more stable and visually pleasing. Simply every bit symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" announced, the overall balance of a given composition contributes to exterior judgments of the work.

Creating a harmonious compositional balance involves arranging elements then that no single role of a work overpowers or seems heavier than whatsoever other part. The three near mutual types of compositional balance are symmetrical, asymmetrical, and radial.

Compositional balance: The 3 common types of residual are symmetric, asymmetric, and radial.

Symmetrical balance is the almost 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 film plane are the same in terms of the sense that is created by the organization of the elements of fine art, the work is said to showroom this type of balance. The opposite of symmetry is asymmetry .

Leonardo da Vinci, Vitruvian Man, 1487: Leonardo da Vinci's Vitruvian Human is often used every bit 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 announced normally in architecture. Although pre-modern architectural styles tended to place an emphasis on symmetry (except where farthermost site conditions or historical developments pb away from this classical ideal), modern and postmodern architects frequently used disproportion every bit a design element. For instance, while most bridges apply a symmetrical form due to intrinsic simplicities of pattern, analysis, fabrication, and economical use of materials, a number of modern bridges accept 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 pattern.

Radial balance refers to circular elements in compositions. In classical geometry, a radius of a circle or sphere is any line segment from its centre 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 ordinarily defined as the maximum altitude betwixt 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" merely also the spoke of a circular chariot bicycle.

Rhythm

Artists 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 Takeaways

Primal Points

• Rhythm may be by and large divers equally a "move marked by the regulated succession of strong and weak elements, or of opposite or different atmospheric condition" (Betimes. 1971).
• Rhythm may also refer to visual presentation as "timed movement through space " (Jirousek 1995), and a mutual language of pattern unites rhythm with geometry.
• For instance, placing a red spiral at the lesser left and top right, for instance, will cause the eye to motion from one spiral, to the other, and everything in between. Information technology is indicating movement in the slice past the repetition of elements and, therefore, tin make artwork seem active.

Primal Terms

• symmetry:Exact correspondence on either side of a dividing line, plane, center or axis. The satisfying organisation of a counterbalanced distribution of the elements of a whole.

The principles of visual art are the rules, tools, and guidelines that artists utilize to organize the elements of in a slice of artwork. When the principles and elements are successfully combined, they assistance in creating an aesthetically pleasing or interesting work of fine art. While there is some variation amongst them, movement, unity, harmony, variety, residual, rhythm, accent, dissimilarity , proportion, and pattern are commonly sited equally principles of art.

Rhythm (from Greek rhythmos, "any regular recurring motion, symmetry " (Liddell and Scott 1996)) may be mostly divers as a "movement marked by the regulated succession of potent and weak elements, or of opposite or different weather" (Anon. 1971). This full general significant of regular recurrence or pattern in time may be applied to a wide multifariousness 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 linguistic communication and poesy. Rhythm may also refer to visual presentation, as "timed motility through space" (Jirousek 1995), and a common linguistic communication of design unites rhythm with geometry.

In a visual limerick , blueprint and rhythm are generally expressed by showing consistency with colors or lines . For instance, placing a scarlet spiral at the bottom left and top right, for example, volition cause the eye to move from one spiral, to the other, and and so to the infinite in betwixt. The repetition of elements creates movement of the viewer 's eye and can, therefore, make the artwork feel active. Hilma af Klint's Svanen (The Swan) exemplifies the visual representation of rhythm using color and symmetry.

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 Calibration

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

Learning Objectives

Apply the concept of proportion to different works of art

Key Takeaways

Key Points

• 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.
• Mathematically, proportion is the relation betwixt elements and a whole. In architecture, the whole is not just a building merely the set and setting of the site.
• Among the various ancient creative traditions, the harmonic proportions, man proportions, cosmic orientations, diverse aspects of sacred geometry , and small whole-number ratios were all applied equally part of the practise of architectural design.

Key Terms

• golden ratio:The irrational number (approximately ane·618), usually denoted past 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 guess this—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter equals this number—believing this proportion to be aesthetically pleasing.

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 of import political figures announced 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 describe the reality an creative person interpreted.

Delineation of Narmer from the Narmer Palette: Narmer, a Predynastic ruler, accompanied by men carrying the standards of various local gods. This slice 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 non just a building only 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 information technology, to the features of the grounds on which information technology is situated. Lite, shade, current of air, superlative , and choice of materials all chronicle to a standard of architectural proportion.

Architecture has oftentimes used proportional systems to generate or constrain the forms considered suitable for inclusion in a building. In nigh every edifice tradition, there is a system of mathematical relations which governs the relationships between aspects of the pattern. These systems of proportion are often quite simple: whole number ratios or incommensurable ratios (such every bit the golden ratio) were determined using geometrical methods. More often than not, the goal of a proportional system is to produce a sense of coherence and harmony among the elements of a building.

Amidst the various ancient artistic traditions, the harmonic proportions, human proportions, cosmic orientations, various aspects of sacred geometry, and small whole-number ratios were all applied as function of the exercise of architectural design. For instance, the Greek classical architectural orders are all proportioned rather than dimensioned or measured modules, because the primeval modules were non based on torso parts and their spans (fingers, palms, hands, and anxiety), but 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 architecture with its tetrastyle portico of four Ionic columns.

Typically, one set of cavalcade bore modules used for casework and architectural moldings past 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 Hellenic republic—was based on the proportions of the hand and the pollex.

Dating back to the Pythagoreans, there was an thought that proportions should exist related to standards, and that the more general and formulaic the standards, the meliorate. This concept—that there should be dazzler and elegance evidenced past a skillful composition of well understood elements—underlies mathematics, fine art, and architecture. The classical standards are a serial of paired opposites designed to aggrandize the dimensional constraints of harmony and proportion.

Infinite

Infinite in art can be divers as the area that exists betwixt two identifiable points.

Learning Objectives

Define space in art and listing means it is employed by artists

Key Takeaways

Key Points

• The system of space is referred to every bit composition and is an essential component to any piece of work of art.
• The infinite of an artwork includes the groundwork, foreground, and middle ground , as well equally the altitude between, around, and within things.
• There are two types of infinite: positive space and negative space.
• Afterwards spending hundreds of years developing linear perspective , Western artistic notions nigh the accurate delineation of space went through a radical shift at the showtime of the 20th century.
• Cubism and subsequent modernist movements represented an of import shift in the use of space within Western fine art, which is even so existence felt today.

Central Terms

• space:The altitude or empty surface area between things.
• Cubism:An artistic movement in the early on 20th century characterized by the depiction of natural forms as geometric structures of planes.

The organization of space in art is referred to as limerick, and is an essential component of whatsoever piece of work of art. Space tin be generally 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 footing, while three-dimensional space, like sculpture or installation , will involve the distance between, around, and within points of the piece of work. Space is further categorized as positive or negative. "Positive space" can be divers as the bailiwick of an artwork, while "negative space" can be defined as the space effectually the subject.

Over the ages, space has been conceived of in various means. Artists have devoted a great deal of time to experimenting with perspectives and degrees of flatness of the pictorial plane .

The perspective organization has been a highly employed convention in Western art. Visually, it is an illusionist phenomenon, well suited to realism and the depiction of reality as it appears. Later on spending hundreds of years developing linear perspective, Western artistic conventions near the accurate depiction of space went through a radical shift at the beginning of the 20th century. The innovations of Cubism and subsequent modernist movements represented an of import shift in the use of space inside 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 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 prototype.

Two-Dimensional Space

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

Learning Objectives

Talk over 2-dimensional space in art and the concrete backdrop on which it is based

Key Takeaways

Key Points

• In physical terms, dimension refers to the constituent structure of all space and its position in fourth dimension.
• Drawing is a class of visual art that makes use of whatsoever number of instruments to mark a 2-dimensional medium .
• Nearly any dimensional grade can be represented past 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 authentic and polished course.

Key Terms

• dimension:A unmarried aspect of a given affair. A measure out of spatial extent in a particular direction, such as meridian, width or breadth, or depth.
• Ii-Dimensional:Existing in 2 dimensions. Not creating the illusion of depth.
• Planar:Of or pertaining to a plane. Apartment, 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 two dimensions are commonly called length and width. Both directions lie on the same aeroplane . In physics, our bi-dimensional space is viewed every bit a planar representation of the space in which we movement.

Mathematical delineation of bi-dimensional space: Bi-dimensional Cartesian coordinate system.

In fine art composition , drawing is a class of visual art that makes employ of whatever number of cartoon instruments to marking a ii-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 key means of public expression throughout human history. Additionally, the relative availability of basic drawing instruments makes drawing more universal than most other media.

Measuring the dimensions of a subject while blocking in the cartoon is an important step in producing a realistic rendition of a subject. Tools such every bit a compass can be used to measure the angles of different sides. These angles tin can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another grade of measurement is to compare the relative sizes of unlike parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the prototype. A ruler can be used both as a straightedge and a device to compute proportions. When attempting to draw a complicated shape such as a human figure, it is helpful at offset to represent the course with a set of archaic shapes.

About whatever dimensional form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished course. The lines of the primitive shapes are removed and replaced by the final likeness. A more refined art of figure drawing relies upon the artist possessing a deep agreement of anatomy and the human proportions. A trained artist is familiar with the skeleton construction, joint location, musculus placement, tendon movement, and how the unlike parts piece of work together during move. This allows the artist to return more natural poses that do not appear artificially potent. The artist is also familiar with how the proportions vary depending on the age of the subject area, particularly when drawing a portrait.

Cartoon human being figures: Henri de Toulouse-Lautrec's Madame Palmyre with Her Domestic dog, 1897.

Linear Perspective and Three-Dimensional Space

Perspective is an judge representation on a flat surface of an prototype as it is seen by the eye.

Learning Objectives

Explain perspective and its affect on fine art composition

Key Takeaways

Key Points

• Systematic attempts to evolve a system of perspective are commonly considered to have begun around the 5th century B.C. in the art of Aboriginal Greece.
• The earliest 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 only without a basis in a systematic theory.
• By the Renaissance , nearly 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.

Cardinal Terms

• curvilinear:Having bends; curved; formed past curved lines.
• horizon line:A horizontal line in perspective drawing, directly reverse the viewer's eye and oftentimes implied, that represents objects infinitely far away and determines the angle or perspective from which the viewer sees the work.
• vanishing point:The bespeak 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 judge representation on a apartment surface of an image as it is seen by the eye, calculated past bold a particular vanishing bespeak . Systematic attempts to evolve a system of perspective are usually considered to take begun around the fifth century BCE in the art of Aboriginal Greece. Past the afterwards periods of antiquity , artists—especially those in less pop traditions—were well enlightened that distant objects could be shown smaller than those close at manus for increased illusionism. But whether this convention was actually used in a work depended on many factors. Some of the paintings constitute in the ruins of Pompeii bear witness a remarkable realism and perspective for their time.

The earliest fine art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, non their distance from the viewer. The almost important figures are often shown every bit the highest in a composition , also from hieratic motives, leading to the "vertical perspective" common in the art of Ancient Egypt , where a group of "nearer" figures are shown beneath the larger figure(s).

The fine art of the Migration Period had no tradition of attempting compositions of big numbers of figures, and Early Medieval fine art was slow 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 altitude, and use and sophistication of attempts to convey distance increased steadily during the period, simply without a basis in a systematic theory.

By the Renaissance, withal, almost every artist in Italy used geometrical perspective in their paintings. Not only was this apply of perspective a way to portray depth, but it was also a new method of composing a painting. Paintings began to show a single, unified scene, rather than a combination of several. For a while, perspective remained the domain of Florence. Gradually, and partly through the move of academies of the arts, the Italian techniques became role of the grooming 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 drawing has one-point perspective when information technology contains only ane 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. Whatsoever objects that are made up of lines either directly parallel with the viewer'southward line of sight or directly perpendicular (the railroad slats) can be represented with one-indicate perspective. These parallel lines converge at the vanishing indicate.

Ii-point perspective tin can be used to describe the same objects equally 1-betoken perspective, but rotated—such as looking at the corner of a house, or looking at ii forked roads shrink into the distance. In looking at a house from the corner, for case, one wall would recede towards ane vanishing point and the other wall would recede towards the opposite vanishing point.

Iii-point perspective is used for buildings depicted from to a higher place or beneath. In improver to the two vanishing points from before, one for each wall, there is now a third one for how those walls recede into the footing . This tertiary vanishing point would be beneath the ground.

Four-point perspective is the curvilinear variant of ii-point perspective. The resulting elongated frame can be used both horizontally and vertically. Like all other foreshortened variants of perspective, iv-signal perspective starts off with a horizon line, followed by four equally spaced vanishing points to delineate iv vertical lines. Considering vanishing points exist merely when parallel lines are present in the scene, a perspective with no vanishing points ("nix-point") occurs if the viewer is observing a non-rectilinear scene. The most common example of a nonlinear scene is a natural scene (due east.g., a mountain range), which frequently does not contain any parallel lines. A perspective without vanishing points can still create a sense of depth.

Distortions of Space and Foreshortening

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

Learning Objectives

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

Key Takeaways

Key Points

• Perspective projection distortion is the inevitable misrepresentation of three-dimensional infinite when drawn or "projected" onto a two-dimensional surface. It is impossible to accurately depict three-dimensional reality on a two-dimensional aeroplane .
• All the same, there are several constructs available which permit for seemingly accurate representation. Perspective projection tin can be used to mirror how the middle sees by the use of one or more vanishing points .
• Although baloney can exist irregular or follow many patterns, the most commonly encountered distortions in limerick , specially in photography, are radially symmetric, or approximately and then, arising from the symmetry of a photographic lens.

Fundamental Terms

• radial:Arranged similar rays that radiate from, or converge into, a common center
• projection:The image that a translucent object casts onto another object.
• foreshortening:A technique for creating the appearance that the object of a cartoon 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 characteristic) of an object, image, sound, or other course of information or representation. Distortion tin exist wanted or unwanted by the creative person. Distortion is usually unwanted when it concerns physical degradation of a piece of 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 Distortion

Perspective project baloney is the inevitable misrepresentation of three-dimensional space when fatigued or "projected" onto a two-dimensional surface. It is incommunicable to accurately depict iii-dimensional reality on a ii-dimensional plane. Withal, there are several constructs available that allow for seemingly accurate representation. The near common of these is perspective projection. Perspective projection can exist used to mirror how the heart 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 2-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 information technology 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 3-dimensional scenes, such as oblique parallel projection drawings.

The physiological basis of visual foreshortening was undefined until the twelvemonth 1000 when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, start explained that light projects conically into the middle. A method for presenting foreshortened geometry systematically onto a plane surface was unknown for another 300 years. The creative person Giotto may accept been the first to recognize that the epitome beheld by the eye is distorted: to the eye, parallel lines appear to intersect (similar the distant edges of a path or road), whereas in "undistorted" nature, they do not. In many of Giotto'southward paintings, perspective is employed to attain various distortion effects.

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 indicate. These projectors intersect with an imaginary plane of projection and an prototype is created on the plane by the points of intersection. The resulting paradigm on the projection plane reproduces the epitome of the object every bit information technology is beheld from the station bespeak.

Radial distortion tin usually be classified as ane of two main types: barrel distortion and pincushion baloney. Barrel distortion occurs when image magnification decreases with distance from the optical centrality. The apparent effect is that of an image which has been mapped around a sphere (or barrel). Fisheye lenses, which take hemispherical views, utilize this type of distortion as a way to map an infinitely wide object aeroplane into a finite image area.

On the other hand, in pincushion distortion, the epitome magnification increases with the distance from the optical axis. The visible effect is that lines that do not go through the center of the image are bowed inwards, towards the center of the epitome, like a pincushion. A sure corporeality of pincushion baloney is often found with visual optical instruments (i.east., binoculars), where information technology serves to eliminate the earth effect.

Cylindrical perspective is a form of distortion caused by fisheye and panoramic lenses, which reproduce straight horizontal lines above and beneath the lens axis level every bit curved, while reproducing straight horizontal lines on lens centrality level as directly. This is also a mutual feature of broad-angle anamorphic lenses of less than 40mm focal length in cinematography. Substantially information technology is just barrel distortion, but only in the horizontal airplane. Information technology is an artifact of the squeezing process that anamorphic lenses practice to fit widescreen images onto standard-width film.

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