A Material Object Is Transformed Into Visual Art Through Quizlet

Line

A line is divers as a mark that connects the infinite between two points, taking any form along the way.

Learning Objectives

Compare and contrast different uses of line in art

Primal Takeaways

Key Points

  • Actual lines are lines that are physically present, existing as solid connections between ane or more points.
  • Implied line refers to the path that the viewer 's center takes as it follows shapes, colors, and forms along any given path.
  • Straight or classic lines provide stability and structure to a limerick and can be vertical, horizontal, or diagonal on a work's surface.
  • Expressive lines refer to curved marks that increment the sense of dynamism of a work of art.
  • The outline or contour lines create a border or path around 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 series of curt lines repeated in intervals, typically in a single direction, and are used to add shading and texture to surfaces, while cross-hatch lines provide additional 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 past means of multiple pocket-sized lines that intersect.
  • line:A path through two or more points.

The line is an essential chemical element of art, defined every bit a mark that connects the space betwixt two points, taking any form along the mode. Lines are used nigh oft to ascertain shape in two-dimensional works and could be called the most aboriginal, as well as the nearly universal, forms of marker making.

There are many unlike types of lines, all characterized by their lengths being greater than their width, every bit well as past the paths that they take. Depending on how they are used, lines help to determine the motion, direction, and energy of a work of art. The quality of a line refers to the graphic symbol that is presented by a line in gild to animate a surface to varying degrees.

Actual lines are lines that are physically present, existing as solid connections between one or more points, while implied lines refer to the path that the viewer's middle takes as it follows shape, color, and grade within an art work. Implied lines give works of art a sense of motion and go along the viewer engaged in a composition. Nosotros can run into numerous implied lines in Jacques-Louis David's Oath of the Horatii, connecting the figures and actions of the piece past leading the eye of the viewer through the unfolding drama.

This painting depicts a scene from a Roman legend about a dispute between two warring cities: Rome and Alba Longa. It shows the three brothers of the Horatius family pledging their allegiance to Rome. They salute their father, who holds a sword.

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

Straight or classic lines add stability and structure to a composition and can be vertical, horizontal, or diagonal on the surface of the work. Expressive lines refer to curved marks that increment the sense of dynamism of a work of fine art. These types of lines often follow an undetermined path of sinuous curves. The outline or profile lines create a edge or path effectually the edge of a shape, thereby outlining and defining information technology. Cross contour lines delineate differences in the features of a surface and can give the illusion of 3 dimensions or a sense of class or shading.

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

Light and Value

Value refers to the employ of low-cal and night in art.

Learning Objectives

Explain the artistic utilize of calorie-free and dark (also known as "value")

Primal Takeaways

Key Points

  • In painting, value changes are achieved past calculation blackness or white to a color.
  • Value in fine art is as well sometimes referred to as " tint " for light hues and "shade" for night hues.
  • Values almost the lighter end of the spectrum are termed "loftier-keyed" while those on the darker end are chosen "low-keyed."
  • In 2-dimensional art works, the use 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 clear tonal contrasts exemplified by very high-keyed whites, placed directly against very low-keyed darks.

Key Terms

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

The apply of light and dark in fine art is called value. Value tin be subdivided into tint (light hues) and shade (night hues). In painting, which uses subtractive colour, value changes are achieved by adding 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 nigh the lighter finish of the spectrum are termed high-keyed, while those on the darker end are depression-keyed.

This graphic depiction of a values scale. It consists of ten values. The darkest value on the left end of the scale is black. The lightest value on the right end of the scale is nearly white. There are several shades of gray in between the darkest value and the lightest value.

Value calibration: The value calibration represents different degrees of lite used in artwork.

In ii-dimensional artworks, the utilize of value can assist to give a shape the illusion of mass or volume. It will also give the unabridged limerick a sense of lighting. Loftier contrast refers to the placing of lighter areas directly confronting much darker ones, so their divergence is showcased, creating a dramatic effect. High contrast also refers to the presence of more blacks than white or greyness. Depression-contrast images issue from placing mid-range values together so in that location 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 furnishings in art. Chiaroscuro, which means literally "light-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 Baroque painting as they effectively produced this dramatic type of result. Caravaggio used a high contrast palette in such works as The Denial of St. Peter to create his expressive chiaroscuro scene.

This painting depicts a scene from the New Testament. St. Peter is denying Jesus after Jesus was arrested.

Caravaggio, The Denial of St. Peter, 1610: Caravaggio'southward The Deprival of St. Peter is an excellent example of how low-cal can be manipulated in artwork.

Color

In the visual arts, color theory is a body of applied guidance to colour mixing and the visual impacts of specific color combinations.

Learning Objectives

Express the about of import elements of colour theory and artists' apply of color

Key Takeaways

Cardinal Points

  • Color theory first appeared in the 17th century, when Isaac Newton discovered that white light could be passed through a prism and divided into the total spectrum of colors.
  • The spectrum of colors contained in white light are red, orange, xanthous, dark-green, blue, indigo , and violet.
  • Color theory divides color into the " principal colors " of crimson, yellow, and blueish, which cannot be mixed from other pigments, and the "secondary colors" of green, orange, and violet, which result from different combinations of the primary colors.
  • Primary and secondary colors are combined in various mixtures to create tertiary colors.
  • Complementary colors are plant opposite each other on the colour wheel and correspond the strongest contrast for those detail 2 colors.

Central Terms

  • complementary color:A color which is regarded equally the opposite of another on the color wheel (i.eastward., cerise and light-green, yellow and majestic, 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.
  • principal color:Any of 3 colors which, when added to or subtracted from others in unlike amounts, can generate all other colors.
  • tint:A color considered with reference to other very similar colors. Crimson and blue are different colors, simply two shades of scarlet are different tints.
  • gradation:A passing by small-scale degrees from one tone or shade, as of color, to some other.
  • hue:A colour, or shade of color.

Color is a fundamental artistic element which refers to the use of hue in fine art and blueprint. It is the near complex of the elements because of the wide array of combinations inherent to it. Colour theory offset appeared in the 17th century when Isaac Newton discovered that white calorie-free could be passed through a prism and divided into the full spectrum of colors. The spectrum of colors contained in white light are, in order: red, orangish, yellow, light-green, blue, indigo and violet.

Color theory subdivides color into the "primary colors" of reddish, yellow, and blue, which cannot be 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 "tertiary colors." Color theory is centered around the color bicycle, a diagram that shows the human relationship of the various colors to each other .

Graphic depiction of the blue-yellow-red color wheel. Blue, yellow, and red make up the primary color triad in a standard artist's color wheel. The secondary colors purple, orange, and green make up another triad.

Colour bike: The color wheel is a diagram that shows the relationship of the various colors to each other.

Color " value " refers to the relative lightness or darkness of a color. In add-on, "tint" and "shade" are important aspects of color theory and result from lighter and darker variations in value, respectively. "Tone" refers to the gradation or subtle changes of a color on a lighter or darker scale. "Saturation" refers to the intensity of a color.

Additive and Subtractive Color

Additive color is color created by mixing ruby-red, greenish, and blue lights. Television screens, for example, employ additive color as they are made up of the main colors of cherry, blue and green (RGB). Subtractive color,  or "process color," works every bit the opposite of additive colour and the primary colors become cyan, magenta, yellow, and black (CMYK). Mutual applications of subtractive colour tin be found in printing and photography.

Complementary Color

Complementary colors tin exist establish directly contrary each other on the color wheel (purple and yellow, dark-green and red, orange and blue). When placed next to each other, these pairs create the strongest contrast for those particular two colors.

Warm and Cool Color

The distinction between warm and cool colors has been important since at least the tardily 18th century. The contrast, equally traced by etymologies in the Oxford English Dictionary, seems related to the observed dissimilarity in mural light, between the "warm" colors associated with daylight or sunset and the "cool" colors associated with a gray or clouded twenty-four hours. Warm colors are the hues from crimson through yellow, browns and tans included. Cool colors, on the other hand, are the hues from blue greenish through blue violet, with near grays included. Color theory has described perceptual and psychological effects to this contrast. Warm colors are said to advance or announced more active in a painting, while cool colors tend to recede. Used in interior pattern or style, 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 utilize of texture in art

Key Takeaways

Key Points

  • 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.
  • Actual texture refers to the concrete rendering or the real surface qualities we tin discover by touching an object.
  • Visible brushstrokes and unlike amounts of paint will create a physical texture that can add to the expressiveness of a painting and draw attending to specific areas within it.
  • It is possible for an artwork to incorporate numerous visual textures but still remain smooth to the impact.

Key Terms

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

Texture

Texture in fine art stimulates the senses of sight and touch on and refers to the tactile quality of the surface of the art. Information technology 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 artist creates through the use of various artistic elements such as line, shading and colour. Actual texture refers to the physical rendering or the real surface qualities we can notice by touching an object, such as paint application or 3-dimensional art.

Information technology is possible for an artwork to contain numerous visual textures, withal still remain smooth to the impact. Take for example Realist or Illusionist works, which rely on the heavy apply of paint and varnish, all the same maintain an utterly smooth surface. In January Van Eyck'due south painting "The Virgin of Chancellor Rolin" we can notice a corking deal of texture in the clothing and robes especially, while the surface of the work remains very smooth .

Painting depicts the Virgin Mary crowned by a hovering Angel while she presents the Infant Jesus to Rolin. Set in a covered exterior corridor with columns.

Jan van Eyck, The Virgin of Chancellor Rolin, 1435: The Virgin of Chancellor Rolin has a peachy bargain of texture in the habiliment and robes, but the bodily surface of the piece of work is very smooth.

Paintings oft utilise actual texture likewise, which we tin can observe in the physical awarding of paint. Visible brushstrokes and unlike amounts of paint will create a texture that adds to the expressiveness of a painting and draw attention to specific areas within it. The artist Vincent van Gogh is known to have used a great bargain of bodily texture in his paintings, noticeable in the thick application of pigment in such paintings every bit Starry Dark.

Painting depicts the view from the east-facing window of painter's asylum room just before sunrise. A stylized moon and stars shine on an idyllic village.

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

Shape and Book

Shape refers to an expanse in a 2-dimensional space that is defined past edges; volume is three-dimensional, exhibiting height, width, and depth.

Learning Objectives

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

Central Takeaways

Key Points

  • "Positive infinite " refers to the infinite of the defined shape or figure.
  • "Negative space" refers to the space that exists around and between one or more than shapes.
  • A " airplane " in art refers to any surface area within infinite.
  • " Course " is a concept that is related to shape and can be created by combining two or more shapes, resulting in a three-dimensional shape.
  • Fine art makes use of both actual and implied volume .
  • Shape, volume, and space, whether bodily or unsaid, are the footing of the perception of reality.

Key Terms

  • form:The shape or visible structure of an creative expression.
  • volume:A unit of three-dimensional measure of space that comprises a length, a width, and a height.
  • plane:A apartment surface extending infinitely in all directions (e.k., horizontal or vertical plane).

Shape refers to an area in ii-dimensional space that is divers past edges. Shapes are, by definition, e'er flat in nature and tin can exist geometric (eastward.g., a circle, square, or pyramid) or organic (e.g., a leaf or a chair). Shapes can be created by placing two different textures , or shape-groups, next to each other, thereby creating an enclosed area, such as a painting of an object floating in h2o.

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

A "airplane" refers to whatsoever expanse inside space. In two-dimensional art, the " picture plane " is the flat surface that the epitome is created upon, such as paper, canvas, or forest. 3-dimensional figures may be depicted on the flat motion picture airplane through the use of the creative elements to imply depth and volume, as seen in the painting Pocket-sized Boutonniere of Flowers in a Ceramic Vase past Jan Brueghel the Elder.

Painting depicts flowers arranged in a vase with smaller flowers at the base and larger flowers at the top. The flowers include roses, tulips, and forget-me-nots among others.

Jan Brueghel the Elder, Small Bouquet of Flowers in a Ceramic Vase, 1599: Three-dimensional figures may be depicted on the apartment picture plane through the apply of the creative elements to imply depth and volume.

"Form" is a concept that is related to shape. Combining ii or more than shapes can create a iii-dimensional shape. Form is always considered three-dimensional as it exhibits book—or height, width, and depth. Art makes employ of both actual and implied book.

While 3-dimensional forms, such as sculpture, take volume inherently, volume can besides be simulated, or implied, in a 2-dimensional work such every bit a painting. Shape, volume, and space—whether bodily or implied—are the basis of the perception of reality.

Time and Move

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

Learning Objectives

Name some techniques and mediums used past artists to convey move in both static and fourth dimension-based art forms

Cardinal Takeaways

Key Points

  • Techniques such as scale and proportion are used to create the feeling of movement or the passing of time in static a visual slice.
  • The placement of a repeated chemical element in different area within an artwork is another way to imply move and the passing of time.
  • Visual experiments in time and motility were start produced in the mid-19th century, and the lensman Eadweard Muybridge is well-known for his sequential shots.
  • The time-based mediums of film, video, kinetic sculpture , and performance art employ time and motion past their very definitions.

Cardinal Terms

  • frames per second:The number of times an imaging device produces unique consecutive images (frames) in 1 second. Abbreviation: FPS.
  • static:Stock-still in identify; having no motility.

Motility, or motion, is considered to exist one of the "principles of art"; that is, ane of the tools artists apply 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 activeness or the intended path for the viewer 'southward eye to follow through a slice.

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 environs will appear to exist in the groundwork. Another technique for implying motion and/or fourth dimension is the placement of a repeated element in unlike areas inside an artwork.

Visual experiments in time and motion were first produced in the mid-19th century. The lensman 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'due south Nude Descending a Staircase, No. 2 exemplifies an absolute feeling of move from the upper left to lower right corner of the piece.

Painting depicts a figure demonstrating an abstract movement. The discernible "body parts" of the figure are composed of nested, conical and cylindrical abstract elements, assembled together to suggest rhythm and convey the movement of the figure merging into itself.

Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912: This piece of work represents Duchamp'southward formulation of motion and fourth dimension.

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

Run a risk, Improvisation, and Spontaneity

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

Learning Objectives

Describe how Dadaism, Surrealism, and the Fluxus motility relied on chance, improvisation, and spontaneity

Key Takeaways

Cardinal Points

  • Dadaists are known for their "automatic writing" or stream of consciousness writing, which highlights the creativity of the unconscious mind.
  • Surrealist works, much like Dadaist works, oft feature an element of surprise, unexpected juxtaposition , and borer into the unconscious listen.
  • Surrealists are known for having invented " exquisite corpse" drawing.
  • The Fluxus movement was known for its " happenings ," which were performance events or situations that could take identify anywhere, in whatsoever form , and relied heavily on risk, improvisation, and audition participation.

Key Terms

  • happening:A spontaneous or improvised event, especially 1 that involves audience participation.
  • assemblage:A collection of things which have been gathered together..

Chance, improvisation, and spontaneity are elements that can be used to create art, or they can be the very purpose of the artwork itself. Any medium can use these elements at whatever point within the artistic process.

Photograph depicting a porcelain urinal, which is signed "R.Mutt" in black script.

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

Dadaism

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

Dadaists used what was readily bachelor to create what was termed an "aggregation," 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 frequently took nonsensical forms, but immune for the opportunity of potentially surprising juxtapositions and unconscious inventiveness.

Surrealism

The Surrealist movement, which developed out of Dadaism primarily as a political motion, featured an element of surprise, unexpected juxtaposition and the borer of the unconscious mind. Andre Breton, an of import member of the motility, wrote the Surrealist manifesto, defining it as follows:

"Surrealism, north. Pure psychic automatism , by which one proposes to express, either verbally, in writing, or by any other mode, the real operation of thought. Dictation of thought in the absence of all control exercised past reason, outside of all aesthetic and moral preoccupation. "

Similar Dadaism earlier information technology, the Surrealist movement stressed the unimportance of reason and planning and instead relied heavily upon chance and surprise as a tool to harness the creativity of the unconscious heed. Surrealists are known for having invented "exquisite corpse" drawing, an exercise where words and images are collaboratively assembled, ane after another. Many Surrealist techniques, including exquisite corpse cartoon, immune for the playful creation of art through assigning value to spontaneous product.

The Fluxus move

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 piece of work was characterized past the use of an farthermost practice-it-yourself (DIY) aesthetic and heavily intermedia artworks. In improver, Fluxus was known for its "happenings," which were multi-disciplinary performance events or situations that could take place anywhere. Audience participation was essential in a happening, and therefore relied on a great deal of surprise and improvisation. Key elements of happenings were frequently planned, but artists left room for improvisation, which eliminated the purlieus between the artwork and the viewer , thus making the audience an important office of the art.

Inclusion of All Five Senses

The inclusion of the v human senses in a single work takes place most frequently in installation and performance art.

Learning Objectives

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

Primal Takeaways

Key Points

  • In gimmicky art, it is quite common for work to cater to the senses of sight, bear on, and hearing, while it is somewhat less mutual to accost smell and sense of taste.
  • "Gesamtkunstwerk," or "full work of art," is a German word that refers to an artwork that attempts to accost all five homo senses.
  • Installation fine 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 computer-imitation environments.

Central Terms

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

The inclusion of the five human senses in a single work takes place most often in installation and performance-based art. In addition, works that strive to include all senses at once generally make apply of some form of interactivity, as the sense of sense of taste conspicuously must involve the participation of the viewer. Historically, this attending to all senses was reserved to ritual and ceremony . In contemporary fine art, information technology is quite common for work to cater to the senses of sight, touch, and hearing, while somewhat less common for art to accost the senses of smell and taste.

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

Installation art is a genre of iii-dimensional artwork that is designed to transform the viewer's perception of a space. Embankment past Rachel Whiteread exemplifies this type of transformation. The term generally pertains to an interior space, while Land Art typically refers to an outdoor space, though at that place is some overlap between these terms. The Fluxus movement of the 1960s is key to the development of installation and functioning art as mediums.

Photograph of art installation, which consists of 14,000 translucent, white polyethylene boxes stacked at varying heights.

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

"Virtual reality" is a term that refers to computer-simulated environments. Currently, most virtual reality environments are visual experiences, merely some simulations include boosted sensory information. Immersive virtual reality has developed in contempo years with the comeback of technology and is increasingly addressing the five senses within a virtual realm. Artists accept been exploring the possibilities of these simulated and virtual realities with the expansion of the discipline of cyberarts, though what constitutes cyberart continues to be up for debate. Environments such every bit the virtual world of Second Life are by and large accepted, simply whether or non video games should be considered art remains undecided.

Compositional Rest

Compositional residuum refers to the placement of the artistic elements in relation to each other inside a piece of work of fine art.

Learning Objectives

Categorize the elements of compositional balance in a piece of work of art

Key Takeaways

Key Points

  • A harmonious compositional rest involves arranging elements then that no i office of a piece of work overpowers or seems heavier than any other part.
  • The 3 most common types of compositional residuum are symmetrical, asymmetrical, and radial .
  • When balanced, a composition appears stable and visually right. Just as symmetry relates to artful preference and reflects an intuitive sense for how things "should" appear, the overall remainder of a given limerick contributes to outside judgments of the work.

Key Terms

  • radial:Arranged like rays that radiate from, or converge to, a mutual center.
  • symmetry:Exact correspondence on either side of a dividing line, plane, center, 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 affair, particularly want of bilateral symmetry. Lacking a common measure betwixt 2 objects or quantities; Incommensurability. That which causes something to not be symmetrical.

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

Creating a harmonious compositional rest involves arranging elements then that no single office of a work overpowers or seems heavier than whatsoever other role. The three virtually common types of compositional residuum are symmetrical, asymmetrical, and radial.

Red shapes on a white background illustrate a comparison of symmetrical, asymmetrical, and radial balance. A horizontal rectangle with circles centered both above and below it depicts symmetrical balance. Asymmetrical balance is illustrated by a horizontal rectangle with one circle above and to the left of it and one circle below and to the right of it. Radial balance is illustrated by six identically sized circles arranged in a ring.

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

Symmetrical balance is the most stable, in a visual sense, and mostly conveys a sense of harmonious or aesthetically pleasing proportionality. When both sides of an artwork on either side of the horizontal or vertical axis of the picture plane are the same in terms of the sense that is created past the arrangement of the elements of art, the work is said to exhibit this type of remainder. The opposite of symmetry is asymmetry .

Drawing depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square.

Leonardo da Vinci, Vitruvian Man, 1487: Leonardo da Vinci's Vitruvian Man is oft used as a representation of symmetry in the human being body and, past extension, the natural universe.

Asymmetry is defined every bit the absence of, or a violation of, the principles of symmetry. Examples of asymmetry appear unremarkably in architecture. Although pre-modern architectural styles tended to place an emphasis on symmetry (except where farthermost site conditions or historical developments lead abroad from this classical ideal), modern and postmodern architects oftentimes used asymmetry as a design chemical element. For instance, while nigh bridges use a symmetrical form due to intrinsic simplicities of design, analysis, fabrication, and economical employ 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. .

Color photograph of Oakland Bay bridge taken from the shore of the bay.

Oakland Bay Bridge: Eastern span replacement of the San Francisco–Oakland Bay Bridge reflects asymmetrical architectural design.

Radial balance refers to round elements in compositions. In classical geometry, a radius of a circumvolve or sphere is any line segment from its center to its perimeter. By extension, the radius of a circle or sphere is the length of any such segment, which is half the diameter. The radius may exist more than than half the diameter, which is unremarkably defined as the maximum altitude between whatsoever two points of the effigy. 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 proper name "radial" or "radius" comes from Latin radius, pregnant "ray" merely besides the spoke of a circular chariot wheel.

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

Fundamental Takeaways

Key Points

  • Rhythm may exist more often than not defined as a "move marked past the regulated succession of potent and weak elements, or of opposite or different conditions" (Betimes. 1971).
  • Rhythm may also refer to visual presentation equally "timed motion through space " (Jirousek 1995), and a mutual language of design unites rhythm with geometry.
  • For example, placing a red screw at the bottom left and peak right, for case, volition cause the eye to move from one spiral, to the other, and everything in between. It is indicating move in the piece by the repetition of elements and, therefore, can make artwork seem active.

Fundamental Terms

  • symmetry:Verbal correspondence on either side of a dividing line, plane, heart 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 utilize to organize the elements of in a piece of artwork. When the principles and elements are successfully combined, they aid in creating an aesthetically pleasing or interesting work of art. While at that place is some variation amid them, movement, unity, harmony, multifariousness, balance, rhythm, emphasis, contrast , proportion, and pattern are commonly sited equally principles of art.

Rhythm (from Greek rhythmos, "any regular recurring move, symmetry " (Liddell and Scott 1996)) may exist more often than not defined as a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions" (Anon. 1971). This full general meaning of regular recurrence or blueprint in time may be applied to a wide diversity of cyclical natural phenomena having a periodicity or frequency of annihilation from microseconds to millions of years. In the performing arts, rhythm is the timing of events on a human scale, of musical sounds and silences, of the steps of a dance, or the meter of spoken linguistic communication and poetry. Rhythm may besides refer to visual presentation, as "timed move through infinite" (Jirousek 1995), and a common 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 instance, placing a reddish spiral at the bottom left and summit right, for example, will cause the middle to move from 1 spiral, to the other, and and then to the space in between. 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.

An abstract painting of a segmented bisected circle. One side is black and white. The other is multi-colored.

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

Proportion and Scale

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

Learning Objectives

Apply the concept of proportion to unlike works of art

Central Takeaways

Key Points

  • Hierarchical proportion is a technique used in art, by and large in sculpture and painting, in which the artist uses unnatural proportion or calibration to describe the relative importance of the figures in the artwork.
  • Mathematically, proportion is the relation between elements and a whole. In architecture, the whole is not just a building but the set and setting of the site.
  • Among the various ancient creative traditions, the harmonic proportions, human being proportions, cosmic orientations, various aspects of sacred geometry , and pocket-sized whole-number ratios were all practical as office of the practice of architectural design.

Primal Terms

  • gold ratio:The irrational number (approximately one·618), usually denoted by the Greek letter of the alphabet φ (phi), which is equal to the sum of its own reciprocal and one, 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 accept proportioned their works to approximate this—especially in the form of the aureate 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 inside a composition . Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the artist uses unnatural proportion or calibration to depict the relative importance of the figures in the artwork. In ancient Egyptian art, for example, gods and important political figures appear much larger than common people. Beginning with the Renaissance , artists recognized the connection between proportion and perspective , and the illusion of three-dimensional infinite . Images of the man body in exaggerated proportion were used to depict the reality an artist interpreted.

Photograph of stone tablet. It depicts six figures carved into the stone. They appear to be walking in the line. The largest figure is at the end of the line, each figure in front is progressively smaller.

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' utilize of proportion, with Narmer appearing larger than the other figures depicted.

Mathematically, proportion is the relation between elements and a whole. In compages, the whole is not merely a edifice but the set and setting of the site. The things that brand a edifice 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. Low-cal, shade, wind, elevation , and choice of materials all relate to a standard of architectural proportion.

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

Amidst the diverse ancient artistic traditions, the harmonic proportions, homo proportions, catholic orientations, various aspects of sacred geometry, and pocket-size whole-number ratios were all applied equally part of the practise of architectural design. For case, the Greek classical architectural orders are all proportioned rather than dimensioned or measured modules, because the earliest modules were not based on torso parts and their spans (fingers, palms, easily, and feet), but rather on column diameters and the widths of arcades and fenestrations .

Photograph of the temple, a rectangular structure. The front is four columns wide and two columns deep.

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

Typically, one set up of column diameter modules used for casework and architectural moldings by the Egyptians and Romans is based on the proportions of the palm and the finger, while another less delicate module—used for door and window trim, tile work, and roofing in Mesopotamia and Greece—was based on the proportions of the mitt and the thumb.

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

Infinite

Infinite in art can exist defined as the area that exists betwixt two identifiable points.

Learning Objectives

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

Fundamental Takeaways

Fundamental 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 altitude between, around, and inside things.
  • There are 2 types of space: positive space and negative infinite.
  • After spending hundreds of years developing linear perspective , Western artistic notions about the accurate delineation of infinite 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 existence felt today.

Primal Terms

  • space:The distance or empty area betwixt things.
  • Cubism:An creative motion in the early 20th century characterized by the delineation of natural forms as geometric structures of planes.

The organization of infinite in art is referred to as composition, and is an essential component of whatsoever work of fine art. Space can be mostly defined as the area that exists between any two identifiable points.

Space is conceived of differently in each medium . The infinite in a painting, for case, includes the background, foreground and middle basis, while 3-dimensional space, like sculpture or installation , volition involve the altitude between, effectually, and within points of the work. Space is further categorized every bit positive or negative. "Positive space" can be defined as the subject of an artwork, while "negative space" can be defined as the space around the subject.

Over the ages, space has been conceived of in diverse ways. Artists have devoted a great 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 phenomenon, well suited to realism and the depiction of reality as information technology appears. After spending hundreds of years developing linear perspective, Western artistic conventions nigh 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 art, the bear upon of which is withal being felt.

Painting that depicts five nude women. Their bodies are angular, composed of flat, splintered shapes. The placement of features on their faces is abstract rather than realistic.

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

2-Dimensional Space

Ii-dimensional, or bi-dimensional, space is a geometric model of the planar project of the physical universe in which we live.

Learning Objectives

Hash out two-dimensional space in art and the physical properties on which information technology is based

Key Takeaways

Key Points

  • In concrete terms, dimension refers to the constituent construction of all infinite and its position in time.
  • Drawing is a form of visual art that makes utilise of any number of instruments to mark a two-dimensional medium .
  • Almost whatever dimensional class tin can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, so the drawing can be refined into a more accurate and polished course.

Primal Terms

  • dimension:A single aspect of a given matter. A measure of spatial extent in a particular management, such equally top, width or latitude, or depth.
  • Two-Dimensional:Existing in two dimensions. Non creating the illusion of depth.
  • Planar:Of or pertaining to a plane. Apartment, 2-dimensional.

Two dimensional, or bi-dimensional, space is a geometric model of the planar projection of the physical universe in which we live. The ii dimensions are unremarkably called length and width. Both directions lie on the same plane . In physics, our bi-dimensional space is viewed as a planar representation of the space in which we motility.

image

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

In art composition , drawing is a form of visual art that makes use of any number of cartoon instruments to mark a two-dimensional medium (meaning that the object does not take depth). One of the simplest and most efficient ways of communicating visual ideas, the medium has been a pop and fundamental ways of public expression throughout human history. Additionally, the relative availability of bones cartoon instruments makes drawing more universal than most other media.

Measuring the dimensions of a subject while blocking in the drawing is an of import footstep in producing a realistic rendition of a discipline. Tools such as a compass can exist used to measure the angles of unlike sides. These angles can be reproduced on the drawing surface then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the discipline with each other. A finger placed at a betoken along the drawing implement tin be used to compare that dimension with other parts of the image. A ruler tin can be used both every bit a straightedge and a device to compute proportions. When attempting to draw a complicated shape such as a human being figure, it is helpful at first to stand for the class with a set of primitive shapes.

Almost any dimensional grade can exist represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes take been assembled into a likeness, so the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced past the last likeness. A more refined fine art of effigy drawing relies upon the creative person possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton construction, joint location, muscle placement, tendon motion, and how the different parts work together during movement. This allows the artist to render more natural poses that practise not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.

Sketch that depicts a woman and her dog. The woman is shown in profile, wearing a baggy coat. She smiles down at her small dog. The dog stands ahead of her, looking back with its mouth open as if barking.

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

Linear Perspective and Iii-Dimensional Space

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

Learning Objectives

Explicate perspective and its impact on art composition

Key Takeaways

Key Points

  • Systematic attempts to evolve a system of perspective are usually considered to have begun around the 5th century B.C. in the fine art of Ancient Greece.
  • The earliest art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, non their altitude from the viewer .
  • In Medieval Europe, the apply and sophistication of attempts to convey distance increased steadily just without a basis in a systematic theory.
  • By the Renaissance , near every creative person in Italia used geometrical perspective in their paintings, both to portray depth and also equally a new and "of the moment" compositional method.

Fundamental Terms

  • curvilinear:Having bends; curved; formed by curved lines.
  • horizon line:A horizontal line in perspective drawing, directly opposite the viewer's eye and frequently implied, that represents objects infinitely far away and determines the angle or perspective from which the viewer sees the work.
  • vanishing point:The point in a perspective drawing at which parallel lines receding from an observer seem to converge.
  • Perspective:The technique of representing 3-dimensional objects on a two-dimensional surface.

In fine art, perspective is an estimate representation on a flat surface of an epitome as it is seen by the eye, calculated by assuming a detail vanishing point . Systematic attempts to evolve a system of perspective are unremarkably considered to have begun effectually the 5th century BCE in the art of Ancient Greece. By the later on periods of artifact , artists—especially those in less popular traditions—were well enlightened that distant objects could be shown smaller than those shut at hand for increased illusionism. Only whether this convention was really 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 earliest art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer. The almost important figures are frequently shown as the highest in a composition , also from hieratic motives, leading to the "vertical perspective" common in the fine art of Aboriginal Egypt , where a group of "nearer" figures are shown below the larger figure(south).

The fine art of the Migration Menstruation had no tradition of attempting compositions of large numbers of figures, and Early Medieval 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 aware of the full general principle of varying the relative size of elements according to distance, and use and sophistication of attempts to convey distance increased steadily during the menstruation, but without a ground in a systematic theory.

By the Renaissance, withal, nearly every artist in Italy used geometrical perspective in their paintings. Not only was this use of perspective a way to portray depth, but information technology 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 movement of academies of the arts, the Italian techniques became part of the preparation of artists across Europe and, afterward, other parts of the world.

Painting depicts a scene from the Bible in which St. Peter is given the keys to Heaven. In the foreground, St. Peter kneels surrounded by apostles as Jesus hands him the keys. In the background at the center of the painting, there's a large temple flanked by arches.

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 ane-point perspective when it contains only one vanishing point on the horizon line . This type of perspective is typically used for images of roads, railway tracks, hallways, or buildings viewed so that the front end is straight facing the viewer. Any objects that are made upwards of lines either directly parallel with the viewer's line of sight or directly perpendicular (the railroad slats) tin can exist represented with 1-point perspective. These parallel lines converge at the vanishing point.

Two-signal perspective can exist used to describe the same objects as one-indicate perspective, just rotated—such equally looking at the corner of a house, or looking at two forked roads shrink into the distance. In looking at a firm from the corner, for instance, one wall would recede towards one vanishing point and the other wall would recede towards the contrary vanishing point.

3-betoken perspective is used for buildings depicted from above or below. In addition to the 2 vanishing points from before, one for each wall, there is at present a third i for how those walls recede into the footing . This tertiary vanishing bespeak would be below the ground.

Four-point perspective is the curvilinear variant of 2-point 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 by four equally spaced vanishing points to delineate iv vertical lines. Because vanishing points exist only when parallel lines are present in the scene, a perspective with no vanishing points ("zero-point") occurs if the viewer is observing a non-rectilinear scene. The most common example of a nonlinear scene is a natural scene (e.g., a mountain range), which oft does not comprise any parallel lines. A perspective without vanishing points tin can all the same create a sense of depth.

Distortions of Space and Foreshortening

Distortion is used to create various representations of space in 2-dimensional works of art.

Learning Objectives

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

Cardinal Takeaways

Primal Points

  • Perspective project distortion is the inevitable misrepresentation of three-dimensional infinite when fatigued or "projected" onto a 2-dimensional surface. Information technology is impossible to accurately describe iii-dimensional reality on a two-dimensional plane .
  • However, there are several constructs available which allow for seemingly accurate representation. Perspective projection can be used to mirror how the centre sees by the employ of one or more than vanishing points .
  • Although baloney can be irregular or follow many patterns, the virtually ordinarily 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 like rays that radiate from, or converge into, a common middle
  • projection: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 by shortening the lines with which that object is fatigued.

A baloney is the alteration of the original shape (or other characteristic) of an object, prototype, sound, or other form of information or representation. Distortion can exist wanted or unwanted past the artist. Distortion is normally unwanted when it concerns physical degradation of a work. Withal, it is more than unremarkably referred to in terms of perspective, where it is employed to create realistic representations of space in 2-dimensional works of art.

Perspective Projection Distortion

Perspective projection baloney 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 plane. Nonetheless, there are several constructs available that permit for seemingly accurate representation. The most mutual of these is perspective project. Perspective project can be used to mirror how the eye sees by making employ of one or more vanishing points.

image

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 it is angled toward the viewer . Although foreshortening is an of import element in fine art where visual perspective is beingness depicted, foreshortening occurs in other types of two-dimensional representations of three-dimensional scenes, such equally oblique parallel project drawings.

The physiological basis of visual foreshortening was undefined until the twelvemonth 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 another 300 years. The artist Giotto may have been the first to recognize that the image beheld by the eye is distorted: to the eye, parallel lines appear to intersect (like the distant edges of a path or road), whereas in "undistorted" nature, they exercise not. In many of Giotto'south paintings, perspective is employed to achieve diverse distortion effects.

Fresco depicting angels in colorful robes who appear to be extended in space, floating.

Foreshortening: This painting illustrates Melozzo da Forlì'southward usage of upward foreshortening in his frescoes at The Basilica della Santa Casa.

Distortion in Photography

In photography, the projection machinery is light reflected from an object. To execute a drawing using perspective project, projectors emanate from all points of an object and intersect at a station point. These projectors intersect with an imaginary aeroplane of project and an image is created on the plane past the points of intersection. The resulting image on the projection plane reproduces the prototype of the object every bit information technology is beheld from the station indicate.

Radial distortion can usually be classified as one of 2 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 paradigm which has been mapped around a sphere (or barrel). Fisheye lenses, which have hemispherical views, utilize this type of distortion as a way to map an infinitely wide object plane into a finite prototype area.

On the other manus, in pincushion distortion, the image magnification increases with the altitude from the optical centrality. The visible result is that lines that practice not get through the heart of the image are bowed inwards, towards the center of the image, similar a pincushion. A certain amount of pincushion distortion is frequently found with visual optical instruments (i.e., binoculars), where information technology serves to eliminate the globe effect.

Cylindrical perspective is a form of distortion acquired by fisheye and panoramic lenses, which reproduce straight horizontal lines above and below the lens axis level every bit curved, while reproducing straight horizontal lines on lens axis level as straight. This is too a mutual feature of broad-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is just barrel distortion, but only in the horizontal plane. Information technology is an artifact of the squeezing process that anamorphic lenses do 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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