Element of Art That Defines the Amount of Space Occupied by an Object
This page provides definitions and examples of the elements of fine art that are used past artists working in various media. The elements of art are components or parts of a work of fine art that tin be isolated and divers. They are the building blocks used to create a work of art.
Students who tin can identify the elements and evaluate their part in the limerick of a work of fine art will be ameliorate able to sympathise an artist'southward choices. They will be equipped to address whether a work of fine art is successful, and why.
The arrangement of elements in a work of art. All works of art have an order determined by the artist. Composition creates a hierarchy within the work, which tells the viewer the relative importance of the imagery and elements included.
Symmetrical compositions convey a sense of stability. In this example, a single large figure in the center is flanked by a smaller figure on either side. The shape of the artwork itself is too symmetrical—a vertical line bisecting the paradigm would create ii equal halves that are mirror images of one some other.
Asymmetrical compositions often convey a sense of movement since the elements of the composition are unbalanced. In this case, the artist used organic forms to create a limerick that mimics the motility of vines growing in an unordered manner around the clock face.
Line
A line is an identifiable path created past a indicate moving in infinite. It is one-dimensional and tin can vary in width, direction, and length. Lines oftentimes define the edges of a form. Lines can be horizontal, vertical, or diagonal, direct or curved, thick or sparse. They lead your eye around the limerick and can communicate information through their grapheme and management.
Examples:
Horizontal lines propose a feeling of rest or placidity considering objects parallel to the earth are at rest. In this mural, horizontal lines also help give a sense of space. The lines delineate sections of the landscape, which recede into infinite. They also imply continuation of the mural beyond the picture airplane to the left and right.
Vertical lines frequently communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky. In this church interior, vertical lines suggest spirituality, rising across homo reach toward the heavens.
Horizontal and vertical lines used in combination communicate stability and solidity. Rectilinear forms with 90-degree angles are structurally stable. This stability suggests permanence and reliability.
Diagonal lines convey a feeling of motility. Objects in a diagonal position are unstable. Considering they are neither vertical nor horizontal, they are either about to fall or are already in motion. The angles of the ship and the rocks on the shore convey a feeling of movement or speed in this stormy harbor scene.
In a two-dimensional composition, diagonal lines tin too betoken depth through perspective. These diagonal lines pull the viewer visually into the image. For example, in this photograph the diagonal lines lead the eye into the space to the betoken where the lines converge.
The curve of a line can convey free energy. Soft, shallow curves recall the curves of the human torso and oft take a pleasing, sensual quality and a softening consequence on the composition. The edge of the pool in this photograph gently leads the eye to the sculptures on the horizon.
Sharply curved or twisted lines can convey turmoil, chaos, and fifty-fifty violence. In this sculpture, the lines of the contorting bodies and the ophidian help convey the intensity of the struggle confronting the ophidian's stranglehold.
When repeated, lines can create a pattern. In this example, the artist repeated unlike kinds of lines beyond the composition to create various patterns. Patterned lines likewise give the epitome rhythm.
Shape and class
Shape and course define objects in space. Shapes accept two dimensions—height and width—and are commonly defined by lines. Forms exist in three dimensions, with height, width, and depth.
Examples:
Shape has only pinnacle and width. Shape is usually, though non e'er, defined by line, which tin can provide its contour. In this image, rectangles and ovals dominate the composition. They depict the architectural details for an illusionist ceiling fresco.
Course has depth equally well as width and height. Three-dimensional form is the basis of sculpture, article of furniture, and decorative arts. Three-dimensional forms can be seen from more one side, such equally this sculpture of a rearing horse.
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Geometric shapes and forms include mathematical, named shapes such every bit squares, rectangles, circles, cubes, spheres, and cones. Geometric shapes and forms are often man-made. However, many natural forms also have geometric shapes. This cabinet is busy with designs of geometric shapes.
Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are often found in nature, but man-made shapes can also imitate organic forms. This wreath uses organic forms to simulate leaves and berries.
Repeated shapes and forms also create patterns. On this manuscript page, the repeating organic floral shapes create a pattern.
In this photograph, geometric shapes and lines are repeated to create a design.
Infinite
Existent space is three-dimensional. Space in a piece of work of art refers to a feeling of depth or three dimensions. It tin also refer to the artist'south apply of the expanse within the motion-picture show plane. The area around the primary objects in a work of fine art is known as negative space, while the infinite occupied past the primary objects is known as positive space.
Examples:
Positive and negative space
The relationship of positive to negative infinite can greatly bear upon the touch on of a work of art. In this cartoon, the man and his shadow occupy the positive space, while the white space surrounding him is the negative infinite. The disproportionate amount of negative space accentuates the figure's vulnerability and isolation.
Iii-dimensional space
The perfect illusion of three-dimensional space in a ii-dimensional work of fine art is something that many artists, such equally Pieter Saenredam, labored to achieve. The illusion of infinite is achieved through perspective drawing techniques and shading.
Color
Light reflected off objects. Color has three main characteristics: hue (carmine, light-green, blue, etc.), value (how low-cal or dark information technology is), and intensity (how bright or dull it is). Colors can be described as warm (blood-red, yellow) or cool (blueish, greyness), depending on which finish of the color spectrum they fall.
Examples:
Value describes the brightness of color. Artists use color value to create different moods. Dark colors in a composition suggest a lack of light, as in a nighttime or interior scene. Dark colors tin frequently convey a sense of mystery or foreboding.
Low-cal colors oftentimes draw a lite source or light reflected inside the limerick. In this painting, the dark colors suggest a night or interior scene. The artist used light colors to describe the light created by the candle flame.
Intensity describes the purity or force of a color. Vivid colors are undiluted and are often associated with positive energy and heightened emotions. Dull colors accept been diluted past mixing with other colors and create a sedate or serious mood. In this image the artist captured both the seriousness and the joy of the scene with the deadening gray rock interior and the bright scarlet pall.
Texture
The surface quality of an object that nosotros sense through touch. All objects have a physical texture. Artists can also convey texture visually in two dimensions.
In a two-dimensional work of art, texture gives a visual sense of how an object depicted would experience in real life if touched: hard, soft, rough, smooth, hairy, leathery, abrupt, etc. In 3-dimensional works, artists use actual texture to add a tactile quality to the work.
Examples:
Texture depicted in two-dimensions
Artists utilise color, line, and shading to imply textures. In this painting, the man'southward robe is painted to simulate silk. The power to convincingly portray fabric of dissimilar types was one of the marks of a cracking painter during the 17th century.
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Surface texture
The surface of this writing desk is metallic and hard. The hard surface is functional for an object that would have been used for writing. The shine surface of the writing desk reflects light, calculation sparkle to this piece of furniture.
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Source: https://www.getty.edu/education/for_teachers/building_lessons/elements.html
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