Vertical Lines Can Create What Impression in an Artwork?

Line

A line is defined every bit a mark that connects the space between two points, taking any course along the fashion.

Learning Objectives

Compare and dissimilarity unlike uses of line in art

Central Takeaways

Key Points

• Actual lines are lines that are physically present, existing as solid connections between i or more points.
• Implied line refers to the path that the viewer 's eye takes equally information technology follows shapes, colors, and forms along any given path.
• Straight or archetype lines provide stability and construction to a composition and can exist vertical, horizontal, or diagonal on a work'south surface.
• Expressive lines refer to curved marks that increase the sense of dynamism of a piece of work of art.
• The outline or contour lines create a border or path effectually the edge of a shape, thereby outlining and defining it. "Cross contour lines" delineate differences in the features of a surface.
• Hatch lines are a series of short lines repeated in intervals, typically in a single direction, and are used to add shading and texture to surfaces, while cross-hatch lines provide additional texture and tone to the paradigm surface and can exist oriented in any management.

Cardinal Terms

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

The line is an essential element of art, defined as a marking that connects the space between 2 points, taking whatsoever course along the way. Lines are used most often to ascertain shape in two-dimensional works and could be called the almost aboriginal, besides equally the almost universal, forms of mark making.

There are many different types of lines, all characterized past their lengths being greater than their width, equally well equally by the paths that they take. Depending on how they are used, lines assist to determine the motion, management, and energy of a piece of work of fine art. The quality of a line refers to the character that is presented by a line in society to animate a surface to varying degrees.

Actual lines are lines that are physically nowadays, existing every bit solid connections between one or more points, while implied lines refer to the path that the viewer'due south center takes as it follows shape, color, and form within an art piece of work. Implied lines requite works of art a sense of motion and keep the viewer engaged in a limerick. Nosotros can see numerous unsaid lines in Jacques-Louis David's Oath 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, 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 construction 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 increase the sense of dynamism of a work of art. These types of lines ofttimes 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 information technology. 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 together shading and texture to surfaces. Cross-hatch lines provide additional texture and tone to the image surface and tin be oriented in whatsoever management. Layers of cross-hatching can add rich texture and volume to image surfaces.

Low-cal and Value

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

Learning Objectives

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

Primal Takeaways

Key Points

• In painting, value changes are accomplished by adding blackness or white to a color.
• Value in art is besides sometimes referred to as " tint " for light hues and "shade" for night hues.
• Values most the lighter terminate of the spectrum are termed "loftier-keyed" while those on the darker terminate are called "low-keyed."
• In two-dimensional art works, the use of value can assistance 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 past very high-keyed whites, placed direct against very low-keyed darks.

Cardinal Terms

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

The use of light and dark in art is chosen value. Value can be subdivided into tint (light hues) and shade (dark hues). In painting, which uses subtractive color, value changes are achieved by calculation black or white to a color. Artists may also use shading, which refers to a more subtle manipulation of value. The value calibration is used to show the standard variations in tones . Values near the lighter end of the spectrum are termed high-keyed, while those on the darker end are depression-keyed.

Value scale: The value scale represents unlike degrees of low-cal used in artwork.

In two-dimensional artworks, the use of value tin aid to give a shape the illusion of mass or volume. It volition also give the entire limerick a sense of lighting. High contrast refers to the placing of lighter areas directly against much darker ones, so their difference is showcased, creating a dramatic consequence. High dissimilarity likewise refers to the presence of more blacks than white or grey. Low-contrast images consequence from placing mid-range values together so there is not much visible difference between them, creating a more than subtle mood.

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

Caravaggio, The Denial of St. Peter, 1610: Caravaggio'due south The Denial of St. Peter is an fantabulous instance of how lite can be manipulated in artwork.

Color

In the visual arts, color theory is a torso of practical guidance to color mixing and the visual impacts of specific color combinations.

Learning Objectives

Limited the nigh important elements of color theory and artists' use of colour

Key Takeaways

Key Points

• Color theory first 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 lite are red, orange, yellow, dark-green, bluish, indigo , and violet.
• Color theory divides color into the " primary colors " of ruby, xanthous, and blue, which cannot be mixed from other pigments, and the "secondary colors" of green, orange, and violet, which upshot from different combinations of the main colors.
• Primary and secondary colors are combined in various mixtures to create tertiary colors.
• Complementary colors are found contrary each other on the color wheel and represent the strongest contrast for those particular two colors.

Key Terms

• complementary color:A color which is regarded equally the reverse of another on the color wheel (i.e., red and light-green, yellow and regal, 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:Whatever of 3 colors which, when added to or subtracted from others in different amounts, can generate all other colors.
• tint:A color considered with reference to other very like colors. Red and bluish are different colors, merely two shades of scarlet are different tints.
• gradation:A passing past small degrees from 1 tone or shade, as of colour, to some other.
• hue:A color, or shade of color.

Color is a key artistic element which refers to the use of hue in art and design. It is the most complex of the elements because of the broad assortment of combinations inherent to it. Color theory first appeared in the 17th century when Isaac Newton discovered that white light could be passed through a prism and divided into the full spectrum of colors. The spectrum of colors independent in white low-cal are, in order: red, orangish, yellow, dark-green, bluish, indigo and violet.

Color theory subdivides color into the "primary colors" of carmine, yellow, and blue, which cannot be mixed from other pigments; and the "secondary colors" of green, orangish and violet, which result from different combinations of the chief colors. Primary and secondary colors are combined in diverse mixtures to create "third colors." Color theory is centered around the color wheel, a diagram that shows the relationship of the various colors to each other .

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

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

Additive and Subtractive Color

Condiment colour is colour created past mixing red, green, and blue lights. Tv screens, for instance, use additive color as they are made up of the principal colors of cherry-red, bluish and green (RGB). Subtractive color,  or "process colour," works as the reverse of condiment color and the principal colors become cyan, magenta, yellow, and black (CMYK). Common applications of subtractive color can exist found in press and photography.

Complementary Color

Complementary colors can be constitute directly opposite each other on the colour wheel (purple and yellowish, dark-green and red, orange and blue). When placed next to each other, these pairs create the strongest dissimilarity for those detail two colors.

Warm and Cool Color

The stardom betwixt warm and cool colors has been important since at to the lowest degree the late 18th century. The contrast, every bit 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 "absurd" colors associated with a grey or overcast solar day. Warm colors are the hues from red through yellow, browns and tans included. Absurd colors, on the other paw, are the hues from blue green through blue violet, with almost grays included. Color theory has described perceptual and psychological effects to this contrast. Warm colors are said to accelerate or appear more active in a painting, while cool colors tend to recede. Used in interior design 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 use of texture in art

Key Takeaways

Key Points

• Visual texture refers to an implied sense of texture that the artist creates through the use of various creative elements such as line , shading, and color.
• Actual texture refers to the concrete rendering or the real surface qualities we tin can notice by touching an object.
• Visible brushstrokes and different amounts of pigment 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 contain numerous visual textures merely still remain smooth to the touch.

Key Terms

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

Texture

Texture in art stimulates the senses of sight and bear on and refers to the tactile quality of the surface of the art. It is based on the perceived texture of the sail or surface, which includes the application of the paint. In the context of artwork, there are two types of texture: visual and actual. Visual texture refers to an implied sense of texture that the artist creates through the use of various artistic elements such as line, shading and color. Actual texture refers to the physical rendering or the real surface qualities nosotros can notice by touching an object, such equally paint application or 3-dimensional art.

It is possible for an artwork to contain numerous visual textures, yet notwithstanding remain smoothen to the touch on. Take for example Realist or Illusionist works, which rely on the heavy use of paint and varnish, yet maintain an utterly polish surface. In January Van Eyck's painting "The Virgin of Chancellor Rolin" we can notice a great deal of texture in the habiliment and robes particularly, while the surface of the work remains very shine .

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

Paintings ofttimes use actual texture as well, which we can notice in the physical awarding of pigment. Visible brushstrokes and different amounts of paint will create a texture that adds to the expressiveness of a painting and draw attention to specific areas within information technology. The artist Vincent van Gogh is known to have used a swell deal of bodily texture in his paintings, noticeable in the thick application of paint in such paintings as Starry Night.

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

Shape and Book

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

Learning Objectives

Define shape and volume and identify means they are represented in fine art

Fundamental Takeaways

Central Points

• "Positive space " refers to the infinite of the divers shape or figure.
• "Negative space" refers to the space that exists around and between one or more than shapes.
• A " plane " in art refers to any surface expanse within space.
• " Form " is a concept that is related to shape and can exist created by combining ii or more than shapes, resulting in a 3-dimensional shape.
• Art makes use of both bodily and implied volume .
• Shape, volume, and infinite, whether actual or unsaid, are the basis of the perception of reality.

Key Terms

• form:The shape or visible construction of an artistic expression.
• volume:A unit of iii-dimensional mensurate of space that comprises a length, a width, and a pinnacle.
• aeroplane:A flat surface extending infinitely in all directions (e.one thousand., horizontal or vertical plane).

Shape refers to an area in two-dimensional space that is divers by edges. Shapes are, by definition, ever apartment in nature and can be geometric (e.thou., a circumvolve, foursquare, or pyramid) or organic (e.g., a foliage or a chair). Shapes can be created past placing two different textures , or shape-groups, next to each other, thereby creating an enclosed area, such as a painting of an object floating in water.

"Positive space" refers to the space of the divers shape, or figure. Typically, the positive space is the field of study of an artwork. "Negative space" refers to the space that exists around and between one or more shapes. Positive and negative space can get hard to distinguish from each other in more than abstruse works.

A "plane" refers to any area inside space. In two-dimensional art, the " picture plane " is the flat surface that the epitome is created upon, such as paper, canvas, or woods. Three-dimensional figures may exist depicted on the flat picture plane through the use of the artistic elements to imply depth and volume, equally seen in the painting Small Bouquet of Flowers in a Ceramic Vase past Jan Brueghel the Elderberry.

Jan Brueghel the Elderberry, Small Bouquet of Flowers in a Ceramic Vase, 1599: Three-dimensional figures may be depicted on the flat motion-picture show plane through the use of the artistic elements to imply depth and volume.

"Form" is a concept that is related to shape. Combining two or more shapes tin create a three-dimensional shape. Class is always considered three-dimensional as information technology exhibits volume—or height, width, and depth. Art makes use of both actual and implied volume.

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

Fourth dimension and Motion

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

Learning Objectives

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

Key Takeaways

Key Points

• Techniques such as scale and proportion are used to create the feeling of motion or the passing of fourth dimension in static a visual piece.
• The placement of a repeated element in unlike area within an artwork is another way to imply motion and the passing of fourth dimension.
• Visual experiments in time and motion were first 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 operation art utilize time and motion past their very definitions.

Key Terms

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

Motion, or movement, is considered to exist one of the "principles of fine art"; that is, one of the tools artists utilise to organize the creative elements in a work of fine art. Move is employed in both static and in fourth dimension-based mediums and can show a directly action or the intended path for the viewer 'due south eye to follow through a piece.

Techniques such every bit scale and proportion are used to create the feeling of motion or the passing of time in static visual artwork. For case, on a flat motion-picture show airplane , an image that is smaller and lighter colored than its surroundings volition announced to be in the background. Another technique for implying motion and/or fourth dimension is the placement of a repeated element in dissimilar areas within an artwork.

Visual experiments in time and motion were get-go produced in the mid-19th century. The photographer Eadweard Muybridge is well known for his sequential shots of humans and animals walking, running, and jumping, which he displayed together to illustrate the move 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 slice.

Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912: This piece of work represents Duchamp'due south conception of move and time.

While static art forms have the power to imply or propose fourth dimension and movement, the time-based mediums of film, video, kinetic sculpture, and functioning fine art demonstrate time and motion by their very definitions. Motion-picture show is many static images that are quickly passed through a lens. Video is substantially the same process, just digitally-based and with fewer frames per second . Performance art takes place in real time and makes utilize of existent people and objects, much like theater. Kinetic fine art is art that moves, or depends on movement, for its effect. All of these mediums utilise time and motion every bit a key attribute of their forms of expression.

Gamble, Improvisation, and Spontaneity

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

Learning Objectives

Describe how Dadaism, Surrealism, and the Fluxus move relied on adventure, improvisation, and spontaneity

Key Takeaways

Key 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, often feature an element of surprise, unexpected juxtaposition , and tapping into the unconscious mind.
• Surrealists are known for having invented " exquisite corpse" drawing.
• The Fluxus movement was known for its " happenings ," which were functioning events or situations that could take identify anywhere, in any form , and relied heavily on take chances, improvisation, and audience participation.

Key Terms

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

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

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

Dadaism

Dadaism was an art movement pop in Europe in the early on 20th century. It was started by artists and poets in Zurich, Switzerland with stiff 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 move, known for exhibiting "fix-mades," which were objects that were purchased or institute and so alleged fine art.

Dadaists used what was readily available to create what was termed an "assemblage," using items such equally 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 allowed for the opportunity of potentially surprising juxtapositions and unconscious creativity.

Surrealism

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

"Surrealism, n. Pure psychic automatism , by which one proposes to express, either verbally, in writing, or by any other fashion, 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 chance and surprise as a tool to harness the inventiveness of the unconscious mind. Surrealists are known for having invented "exquisite corpse" drawing, an exercise where words and images are collaboratively assembled, one later another. Many Surrealist techniques, including exquisite corpse drawing, allowed for the playful creation of art through assigning value to spontaneous production.

The Fluxus motion

The Fluxus move of the 1960s was highly influenced by Dadaism. Fluxus was an international network of artists that skillfully blended together many different disciplines, and whose work was characterized by the use of an extreme practice-it-yourself (DIY) artful and heavily intermedia artworks. In add-on, 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 keen deal of surprise and improvisation. Key elements of happenings were oft planned, simply artists left room for improvisation, which eliminated the boundary between the artwork and the viewer , thus making the audition an important part of the fine art.

Inclusion of All Five Senses

The inclusion of the five human senses in a unmarried work takes place most often in installation and operation fine art.

Learning Objectives

Explain how installation and functioning art include the five senses of the viewer

Key Takeaways

Fundamental Points

• In contemporary art, it is quite common for piece of work to cater to the senses of sight, bear on, and hearing, while information technology is somewhat less common to address odour and taste.
• "Gesamtkunstwerk," or "total piece of work of art," is a German word that refers to an artwork that attempts to address all 5 human senses.
• Installation art is a genre of three-dimensional artwork that is designed to transform the viewer 's perception of a space .
• Virtual reality is a term that refers to computer-simulated environments.

Key Terms

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

The inclusion of the v homo senses in a single work takes place nigh oft in installation and functioning-based art. In addition, works that strive to include all senses at one time generally brand use of some form of interactivity, as the sense of taste clearly must involve the participation of the viewer. Historically, this attention to all senses was reserved to ritual and ceremony . In contemporary 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 address the senses of smell and gustation.

The German give-and-take "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 High 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 not bad attending to every particular in order to reach a state of total artistic immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , but has evolved from Wagner's definition to mean the inclusion of the five senses in art.

Installation art is a genre of three-dimensional artwork that is designed to transform the viewer's perception of a infinite. Beach by 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 performance art as mediums.

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

"Virtual reality" is a term that refers to computer-simulated environments. Currently, most virtual reality environments are visual experiences, but some simulations include additional sensory information. Immersive virtual reality has developed in recent years with the improvement of engineering science and is increasingly addressing the v senses within a virtual realm. Artists take 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 argue. Environments such every bit the virtual world of Second Life are generally accepted, but whether or not video games should be considered art remains undecided.

Compositional Residual

Compositional balance refers to the placement of the artistic elements in relation to each other within a piece of work of art.

Learning Objectives

Categorize the elements of compositional remainder in a work of art

Key Takeaways

Central Points

• A harmonious compositional balance involves arranging elements then that no one office of a work overpowers or seems heavier than any other function.
• The three most common types of compositional balance are symmetrical, asymmetrical, and radial .
• When balanced, a composition appears stable and visually right. Just every bit symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" appear, the overall residue of a given composition contributes to outside judgments of the piece of work.

Key Terms

• radial:Arranged similar rays that radiate from, or converge to, a common center.
• symmetry:Exact correspondence on either side of a dividing line, airplane, middle, or centrality. The satisfying arrangement of a balanced distribution of the elements of a whole.
• disproportion:Want of symmetry, or proportion between the parts of a thing, specially want of bilateral symmetry. Lacking a mutual mensurate between two objects or quantities; Incommensurability. That which causes something to not be symmetrical.

Compositional residuum refers to the placement of the elements of art (colour, form , line , shape, space , texture , and value) in relation to each other. When balanced, a composition appears more stable and visually pleasing. Simply every bit symmetry relates to aesthetic 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.

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

Compositional remainder: The three mutual types of residuum are symmetric, asymmetric, and radial.

Symmetrical balance is the most stable, in a visual sense, and generally conveys a sense of harmonious or aesthetically pleasing proportionality. When both sides of an artwork on either side of the horizontal or vertical axis of the picture aeroplane are the aforementioned in terms of the sense that is created by the arrangement of the elements of fine art, the work is said to exhibit this type of residue. The reverse of symmetry is asymmetry .

Leonardo da Vinci, Vitruvian Human being, 1487: Leonardo da Vinci'south Vitruvian Human is oftentimes used every bit a representation of symmetry in the human torso and, by extension, the natural universe.

Asymmetry is divers as the absence of, or a violation of, the principles of symmetry. Examples of disproportion appear commonly in architecture. Although pre-modernistic architectural styles tended to place an emphasis on symmetry (except where extreme site weather or historical developments lead away from this classical ideal), mod and postmodern architects frequently used disproportion every bit a design element. For instance, while well-nigh bridges apply a symmetrical form due to intrinsic simplicities of blueprint, analysis, fabrication, and economical use of materials, a number of modern bridges have deliberately departed from this, either in response to site-specific considerations or to create a dramatic blueprint statement. .

Oakland Bay Bridge: Eastern bridge replacement of the San Francisco–Oakland Bay Bridge reflects asymmetrical architectural pattern.

Radial residual refers to circular elements in compositions. In classical geometry, a radius of a circle or sphere is any line segment from its center to its perimeter. By extension, the radius of a circle or sphere is the length of any such segment, which is one-half the diameter. The radius may exist more than than half the bore, which is usually defined as the maximum distance betwixt any ii points of the figure. The inradius of a geometric figure is usually the radius of the largest circumvolve 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, significant "ray" simply also the spoke of a circular chariot bicycle.

Rhythm

Artists use rhythm every bit a tool to guide the heart of the viewer through works of art.

Learning Objectives

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

Key Takeaways

Key Points

• Rhythm may exist generally defined as a "movement marked past the regulated succession of strong and weak elements, or of opposite or dissimilar conditions" (Anon. 1971).
• Rhythm may also refer to visual presentation as "timed movement through space " (Jirousek 1995), and a common language of blueprint unites rhythm with geometry.
• For instance, placing a red spiral at the bottom left and top right, for example, will cause the eye to move from i screw, to the other, and everything in between. It is indicating move in the piece by the repetition of elements and, therefore, tin can make artwork seem agile.

Central Terms

• symmetry:Exact correspondence on either side of a dividing line, plane, center or centrality. The satisfying arrangement of a balanced distribution of the elements of a whole.

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

Rhythm (from Greek rhythmos, "whatsoever regular recurring move, symmetry " (Liddell and Scott 1996)) may be generally divers as a "move marked by the regulated succession of strong and weak elements, or of contrary or different conditions" (Anon. 1971). This general meaning of regular recurrence or pattern in time may be applied to a broad 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 man scale, of musical sounds and silences, of the steps of a trip the light fantastic toe, or the meter of spoken language and poetry. Rhythm may as well refer to visual presentation, as "timed movement through infinite" (Jirousek 1995), and a mutual language of design unites rhythm with geometry.

In a visual limerick , pattern and rhythm are by and large expressed by showing consistency with colors or lines . For instance, placing a red spiral at the bottom left and elevation correct, for example, will crusade the heart to move from one screw, to the other, and and so to the space in betwixt. The repetition of elements creates movement of the viewer 's eye and tin, therefore, make the artwork feel active. Hilma af Klint'southward 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 Scale

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

Learning Objectives

Utilize the concept of proportion to different works of art

Central Takeaways

Key Points

• Hierarchical proportion is a technique used in fine 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.
• Mathematically, proportion is the relation between elements and a whole. In architecture, the whole is non just a building but the set and setting of the site.
• Among the various ancient artistic traditions, the harmonic proportions, human proportions, cosmic orientations, diverse aspects of sacred geometry , and small-scale whole-number ratios were all practical as part of the practice of architectural blueprint.

Key Terms

• golden ratio:The irrational number (approximately 1·618), normally denoted by the Greek alphabetic character φ (phi), which is equal to the sum of its own reciprocal and i, or, equivalently, is such that the ratio of ane to the number is equal to the ratio of its reciprocal to 1. Some twentieth-century artists and architects accept proportioned their works to judge this—especially in the grade of the golden rectangle, in which the ratio of the longer side to the shorter equals this number—believing this proportion to 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, by and large 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 fine art, for instance, gods and important political figures announced much larger than common people. Starting time with the Renaissance , artists recognized the connectedness betwixt proportion and perspective , and the illusion of three-dimensional space . Images of the human trunk in exaggerated proportion were used to depict the reality an artist 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 compages, the whole is not just a building but the fix 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 it is situated. Light, shade, wind, elevation , and choice of materials all chronicle to a standard of architectural proportion.

Compages has oft used proportional systems to generate or constrain the forms considered suitable for inclusion in a building. In almost every building tradition, in that location is a organisation 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 adamant using geometrical methods. Mostly, the goal of a proportional arrangement is to produce a sense of coherence and harmony amid the elements of a edifice.

Amid the various aboriginal artistic traditions, the harmonic proportions, human proportions, cosmic orientations, various aspects of sacred geometry, and pocket-size whole-number ratios were all applied every bit part of the do of architectural design. For instance, the Greek classical architectural orders are all proportioned rather than dimensioned or measured modules, because the earliest modules were not based on body parts and their spans (fingers, palms, hands, and feet), but rather on column diameters and the widths of arcades and fenestrations .

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

Typically, ane set of column diameter modules used for casework and architectural moldings by the Egyptians and Romans is based on the proportions of the palm and the finger, while some other less frail module—used for door and window trim, tile work, and roofing in Mesopotamia and Greece—was based on the proportions of the paw and the thumb.

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

Space

Space in art tin be defined every bit the expanse that exists between two identifiable points.

Learning Objectives

Define space in art and list ways it is employed by artists

Key Takeaways

Key Points

• The system of space is referred to as composition and is an essential component to whatever work of art.
• The space of an artwork includes the background, foreground, and middle ground , as well every bit the distance betwixt, around, and within things.
• In that location are 2 types of space: positive space and negative infinite.
• After spending hundreds of years developing linear perspective , Western artistic notions about the authentic delineation of space went through a radical shift at the beginning of the 20th century.
• Cubism and subsequent modernist movements represented an important shift in the use of space inside Western art, which is however being felt today.

Central Terms

• space:The distance or empty 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 infinite in art is referred to as composition, and is an essential component of whatever work of art. Infinite tin can be by and large defined as the expanse that exists betwixt any two identifiable points.

Space is conceived of differently in each medium . The space in a painting, for example, includes the background, foreground and middle ground, while three-dimensional space, like sculpture or installation , volition involve the altitude betwixt, around, and within points of the piece of work. Space is further categorized as positive or negative. "Positive space" tin be defined as the subject of an artwork, while "negative space" can be defined as the infinite around the bailiwick.

Over the ages, space has been conceived of in various ways. Artists take 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 fine art. Visually, it is an illusionist phenomenon, well suited to realism and the depiction of reality as it appears. Afterwards spending hundreds of years developing linear perspective, Western artistic conventions near the authentic 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 important shift in the utilize of space within Western art, the impact of which is still being felt.

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

Two-Dimensional Space

Two-dimensional, or bi-dimensional, space is a geometric model of the planar projection of the concrete universe in which we alive.

Learning Objectives

Discuss two-dimensional space in art and the concrete properties on which information technology is based

Key Takeaways

Key Points

• In physical terms, dimension refers to the constituent structure of all space and its position in time.
• Drawing is a form of visual art that makes utilise of whatsoever number of instruments to mark a two-dimensional medium .
• Nigh whatsoever dimensional form can be represented past 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 than accurate and polished class.

Primal Terms

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

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

Mathematical depiction of bi-dimensional space: Bi-dimensional Cartesian coordinate arrangement.

In art composition , cartoon is a form of visual art that makes apply of whatsoever number of drawing instruments to mark a two-dimensional medium (meaning that the object does non take depth). Ane of the simplest and most efficient ways of communicating visual ideas, the medium has been a popular and key ways of public expression throughout human being history. Additionally, the relative availability of basic drawing instruments makes drawing more universal than most other media.

Measuring the dimensions of a bailiwick while blocking in the drawing is an of import step in producing a realistic rendition of a subject area. Tools such as a compass can be used to measure the angles of different sides. These angles tin can exist reproduced on the drawing surface so rechecked to make sure they are authentic. Another form of measurement is to compare the relative sizes of dissimilar parts of the field of study with each other. A finger placed at a indicate along the drawing implement tin 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 homo figure, information technology is helpful at first to represent the form with a ready of archaic shapes.

Almost any dimensional form can be represented past some combination of the cube, sphere, cylinder, and cone. In one case these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished grade. The lines of the primitive shapes are removed and replaced past the final likeness. A more refined art of figure drawing relies upon the creative person possessing a deep understanding of anatomy and the human being proportions. A trained artist is familiar with the skeleton structure, joint location, musculus placement, tendon movement, and how the different parts work together during movement. This allows the artist to return more than natural poses that exercise non appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject area, peculiarly when drawing a portrait.

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

Linear Perspective and Three-Dimensional Infinite

Perspective is an guess representation on a flat surface of an prototype every bit information technology is seen by the middle.

Learning Objectives

Explain perspective and its impact on art composition

Key Takeaways

Key Points

• Systematic attempts to evolve a organization of perspective are usually considered to take begun around the 5th century B.C. in the art of Ancient Hellenic republic.
• 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 sophistication of attempts to convey distance increased steadily but without a basis in a systematic theory.
• By the Renaissance , nearly every creative person in Italia used geometrical perspective in their paintings, both to portray depth and also as a new and "of the moment" compositional method.

Key Terms

• curvilinear:Having bends; curved; formed past curved lines.
• horizon line:A horizontal line in perspective drawing, directly opposite the viewer'due south 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 cartoon 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 fine art, perspective is an gauge representation on a flat surface of an image as it is seen past the center, calculated past bold a particular vanishing bespeak . Systematic attempts to evolve a system of perspective are unremarkably considered to have begun around the 5th century BCE in the art of Aboriginal Greece. By the after periods of artifact , artists—especially those in less popular traditions—were well enlightened that afar objects could be shown smaller than those close at hand for increased illusionism. But whether this convention was actually used in a piece of work depended on many factors. Some of the paintings found in the ruins of Pompeii evidence a remarkable realism and perspective for their time.

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

The art of the Migration Menstruum had no tradition of attempting compositions of large numbers of figures, and Early Medieval art was boring 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 general principle of varying the relative size of elements according to distance, and use and composure of attempts to convey distance increased steadily during the period, but without a ground in a systematic theory.

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

Perspective in Renaissance Painting: Pietro Perugino's usage of perspective in this fresco at the Sistine Chapel (1481–82) helped bring the Renaissance to Rome.

A cartoon has one-point perspective when it contains simply one vanishing point on the horizon line . This type of perspective is typically used for images of roads, railway tracks, hallways, or buildings viewed so that the front is directly facing the viewer. Whatever objects that are made up of lines either directly parallel with the viewer's line of sight or directly perpendicular (the railroad slats) can be represented with one-signal perspective. These parallel lines converge at the vanishing bespeak.

Two-point perspective tin exist used to describe the same objects as one-point perspective, merely rotated—such every bit 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 instance, one wall would recede towards 1 vanishing point and the other wall would recede towards the opposite vanishing point.

Iii-indicate perspective is used for buildings depicted from to a higher place or below. In improver to the ii vanishing points from earlier, one for each wall, there is at present a 3rd one for how those walls recede into the ground . This third vanishing point would be below the footing.

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, 4-point perspective starts off with a horizon line, followed by iv as spaced vanishing points to delineate 4 vertical lines. Because vanishing points exist only when parallel lines are present in the scene, a perspective with no vanishing points ("naught-bespeak") 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 oftentimes does not incorporate whatever parallel lines. A perspective without vanishing points tin still create a sense of depth.

Distortions of Space and Foreshortening

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

Learning Objectives

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

Central Takeaways

Key Points

• Perspective projection baloney is the inevitable misrepresentation of iii-dimensional space when drawn or "projected" onto a two-dimensional surface. It is impossible to accurately depict three-dimensional reality on a ii-dimensional aeroplane .
• Yet, there are several constructs bachelor which permit for seemingly accurate representation. Perspective project tin be used to mirror how the eye sees by the utilize of 1 or more vanishing points .
• Although distortion can be irregular or follow many patterns, the near ordinarily encountered distortions in composition , especially in photography, are radially symmetric, or approximately then, arising from the symmetry of a photographic lens.

Primal Terms

• radial:Arranged like rays that radiate from, or converge into, a common centre
• 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 infinite by shortening the lines with which that object is drawn.

A baloney is the amending of the original shape (or other characteristic) of an object, epitome, sound, or other grade of information or representation. Distortion can be wanted or unwanted past the artist. Distortion is usually unwanted when it concerns physical degradation of a piece of work. However, it is more than ordinarily referred to in terms of perspective, where it is employed to create realistic representations of space in ii-dimensional works of art.

Perspective Projection Baloney

Perspective projection distortion is the inevitable misrepresentation of iii-dimensional space when fatigued or "projected" onto a ii-dimensional surface. Information technology is impossible to accurately describe iii-dimensional reality on a two-dimensional plane. All the same, in that location are several constructs available that allow for seemingly accurate representation. The almost common of these is perspective projection. Perspective projection can be used to mirror how the eye sees by making utilize of one or more vanishing points.

Giotto, Lamentation (The Mourning of Christ), 1305–1306: Giotto is one of the well-nigh notable pre-Renaissance artists to recognize baloney 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 important chemical element in art where visual perspective is being depicted, foreshortening occurs in other types of ii-dimensional representations of three-dimensional scenes, such every bit oblique parallel project drawings.

The physiological basis of visual foreshortening was undefined until the year 1000 when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, first explained that low-cal 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 accept been the commencement to recognize that the image beheld by the eye is distorted: to the heart, parallel lines appear to intersect (like the distant edges of a path or route), whereas in "undistorted" nature, they do not. In many of Giotto's paintings, perspective is employed to achieve diverse baloney 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 project mechanism is light reflected from an object. To execute a cartoon using perspective projection, projectors emanate from all points of an object and intersect at a station point. These projectors intersect with an imaginary plane of project and an image is created on the airplane past the points of intersection. The resulting prototype on the projection plane reproduces the prototype of the object as it is beheld from the station point.

Radial baloney can usually be classified as one of 2 principal types: barrel distortion and pincushion distortion. Barrel baloney occurs when image magnification decreases with altitude from the optical centrality. The apparent consequence is that of an paradigm which has been mapped effectually a sphere (or barrel). Fisheye lenses, which accept hemispherical views, utilise this type of distortion as a mode to map an infinitely wide object plane into a finite image area.

On the other hand, in pincushion distortion, the paradigm magnification increases with the altitude from the optical axis. The visible consequence is that lines that practice not go through the center of the image are bowed inwards, towards the centre of the image, similar a pincushion. A certain amount of pincushion baloney is often found with visual optical instruments (i.east., binoculars), where information technology serves to eliminate the world effect.

Cylindrical perspective is a form of baloney caused by fisheye and panoramic lenses, which reproduce straight horizontal lines above and below the lens axis level as curved, while reproducing direct horizontal lines on lens axis level as direct. This is also a common characteristic of wide-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is just barrel distortion, only only in the horizontal plane. It is an antiquity 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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