Straight Lines Drawings Harmony Through a Repeating Art Element Drawing

Line

A line is divers as a mark that connects the space betwixt two points, taking whatever form along the way.

Learning Objectives

Compare and contrast different uses of line in art

Key Takeaways

Key Points

• Actual lines are lines that are physically present, existing as solid connections between one or more than points.
• Unsaid line refers to the path that the viewer 's centre takes as it follows shapes, colors, and forms forth whatever given path.
• Southwardtraight or classic lines provide stability and structure to a composition and can exist vertical, horizontal, or diagonal on a work's surface.
• Expressive lines refer to curved marks that increase the sense of dynamism of a work of art.
• The outline or contour lines create a edge or path around 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 serial of brusk 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 tin be oriented in any management.

Key Terms

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

The line is an essential element of art, defined as a mark that connects the space between two points, taking whatsoever form along the way. Lines are used most oftentimes to define shape in two-dimensional works and could be chosen the most ancient, as well equally the near universal, forms of mark making.

There are many different types of lines, all characterized by their lengths being greater than their width, equally well as past the paths that they accept. Depending on how they are used, lines help to determine the move, management, and energy of a work of art. The quality of a line refers to the graphic symbol that is presented by a line in order to breathing a surface to varying degrees.

Actual lines are lines that are physically nowadays, existing as solid connections betwixt one or more than points, while implied lines refer to the path that the viewer'due south eye takes as information technology follows shape, color, and class within an art work. Unsaid lines give works of fine art a sense of motion and keep the viewer engaged in a composition. We can come across numerous implied lines in Jacques-Louis David's Oath of the Horatii, connecting the figures and actions of the piece by leading the heart of the viewer through the unfolding drama.

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

Directly or classic lines add stability and structure to a composition and tin be vertical, horizontal, or diagonal on the surface of the work. Expressive lines refer to curved marks that increase the sense of dynamism of a piece of work of art. These types of lines frequently follow an undetermined path of sinuous curves. The outline or contour lines create a border or path effectually the edge of a shape, thereby outlining and defining it. Cross profile lines delineate differences in the features of a surface and can give the illusion of 3 dimensions or a sense of form or shading.

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

Light and Value

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

Learning Objectives

Explain the artistic utilize of light and dark (too known as "value")

Primal Takeaways

Key Points

• In painting, value changes are accomplished by adding black or white to a colour.
• Value in art is as well sometimes referred to as " tint " for light hues and "shade" for dark hues.
• Values about the lighter end of the spectrum are termed "high-keyed" while those on the darker terminate are called "low-keyed."
• In two-dimensional fine art works, the use of value can help to requite a shape the illusion of mass or volume .
• Chiaroscuro was a common technique in Baroque painting and refers to articulate tonal contrasts exemplified by very loftier-keyed whites, placed directly against very low-keyed darks.

Key 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 utilize of light and dark in art is chosen value. Value can exist subdivided into tint (light hues) and shade (dark hues). In painting, which uses subtractive color, value changes are achieved past adding black or white to a color. Artists may also employ shading, which refers to a more subtle manipulation of value. The value scale is used to show the standard variations in tones . Values about the lighter end of the spectrum are termed high-keyed, while those on the darker end are low-keyed.

Value scale: The value scale represents different degrees of light used in artwork.

In two-dimensional artworks, the use of value can aid to requite a shape the illusion of mass or book. Information technology will also requite the entire composition a sense of lighting. High contrast refers to the placing of lighter areas directly against much darker ones, then their difference is showcased, creating a dramatic effect. Loftier contrast also refers to the presence of more blacks than white or greyness. Depression-contrast images event from placing mid-range values together so there is not much visible departure betwixt them, creating a more subtle mood.

In Bizarre 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 low-keyed darks. Candlelit scenes were common in Baroque painting every bit they effectively produced this dramatic type of effect. Caravaggio used a high contrast palette in such works as The Deprival of St. Peter to create his expressive chiaroscuro scene.

Caravaggio, The Denial of St. Peter, 1610: Caravaggio'southward The Denial of St. Peter is an fantabulous case of how light tin be manipulated in artwork.

Colour

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

Learning Objectives

Express the nigh important elements of colour theory and artists' apply of colour

Key Takeaways

Key Points

• Color theory first appeared in the 17th century, when Isaac Newton discovered that white lite could be passed through a prism and divided into the full spectrum of colors.
• The spectrum of colors contained in white low-cal are cherry, orangish, yellow, green, blue, indigo , and violet.
• Color theory divides color into the " principal colors " of blood-red, 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 primary colors.
• Primary and secondary colors are combined in various mixtures to create tertiary colors.
• Complementary colors are found opposite each other on the color bicycle and correspond the strongest dissimilarity for those particular two colors.

Cardinal Terms

• complementary color:A color which is regarded equally the reverse of another on the color cycle (i.e., red and light-green, yellow and purple, and orange and bluish).
• value:The relative darkness or lightness of a colour in a specific expanse of a painting or other visual art.
• primary colour:Any of three 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 similar colors. Red and blue are different colors, but two shades of scarlet are different tints.
• gradation:A passing by pocket-sized degrees from 1 tone or shade, as of color, 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 almost complex of the elements because of the wide array of combinations inherent to it. Color theory showtime appeared in the 17th century when Isaac Newton discovered that white low-cal could exist passed through a prism and divided into the total spectrum of colors. The spectrum of colors contained in white light are, in order: red, orange, yellow, green, blue, indigo and violet.

Color theory subdivides color into the "primary colors" of red, yellow, and blue, which cannot be mixed from other pigments; and the "secondary colors" of dark-green, orange and violet, which issue from different combinations of the primary colors. Primary and secondary colors are combined in various mixtures to create "third colors." Color theory is centered effectually the colour wheel, a diagram that shows the relationship of the various colors to each other .

Color 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 addition, "tint" and "shade" are important aspects of colour 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 calibration. "Saturation" refers to the intensity of a colour.

Condiment and Subtractive Color

Additive colour is color created by mixing reddish, green, and blue lights. Television screens, for example, use condiment color every bit they are made upwards of the main colors of scarlet, blue and green (RGB). Subtractive color,  or "process color," works as the reverse of additive color and the main colors go cyan, magenta, xanthous, and black (CMYK). Common applications of subtractive color can exist establish in printing and photography.

Complementary Color

Complementary colors tin exist found direct opposite each other on the color bicycle (imperial and yellowish, light-green and cerise, orange and blue). When placed side by side to each other, these pairs create the strongest contrast for those item two colors.

Warm and Absurd Color

The distinction between warm and cool colors has been important since at least the late 18th century. The contrast, as traced by etymologies in the Oxford English Dictionary, seems related to the observed contrast in landscape light, between the "warm" colors associated with daylight or sunset and the "cool" colors associated with a greyness or overcast day. Warm colors are the hues from red through yellowish, browns and tans included. Cool colors, on the other paw, are the hues from blue green through blue violet, with virtually grays included. Color theory has described perceptual and psychological effects to this dissimilarity. Warm colors are said to advance or appear more active in a painting, while cool colors tend to recede. Used in interior design or fashion, warm colors are said to arouse or stimulate the viewer , while absurd colors at-home and relax.

Texture

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

Learning Objectives

Recognize the use of texture in art

Fundamental Takeaways

Key Points

• Visual texture refers to an implied sense of texture that the artist creates through the apply of various artistic elements such every bit line , shading, and color.
• Bodily texture refers to the physical rendering or the existent surface qualities we can notice by touching an object.
• Visible brushstrokes and different amounts of paint will create a physical texture that tin can add together to the expressiveness of a painting and describe attention to specific areas within it.
• It is possible for an artwork to contain numerous visual textures but notwithstanding remain smooth to the touch.

Cardinal Terms

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

Texture

Texture in art stimulates the senses of sight and touch and refers to the tactile quality of the surface of the art. It is based on the perceived texture of the canvas or surface, which includes the application of the paint. In the context of artwork, there are two types of texture: visual and bodily. Visual texture refers to an implied sense of texture that the creative person 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 we tin notice by touching an object, such as pigment application or iii-dimensional art.

It is possible for an artwork to contain numerous visual textures, yet notwithstanding remain smooth to the touch. Accept for case Realist or Illusionist works, which rely on the heavy use of paint and varnish, nonetheless maintain an utterly smooth surface. In January Van Eyck'due south painting "The Virgin of Chancellor Rolin" nosotros can notice a great deal of texture in the wear 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 bargain of texture in the clothing and robes, merely the actual surface of the work is very smooth.

Paintings often use actual texture besides, which we tin observe in the physical application of pigment. Visible brushstrokes and different amounts of paint volition create a texture that adds to the expressiveness of a painting and depict attention to specific areas within it. The artist Vincent van Gogh is known to have used a great deal of actual texture in his paintings, noticeable in the thick application of pigment in such paintings as Starry Night.

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

Shape and Volume

Shape refers to an area in a ii-dimensional space that is divers past edges; volume is 3-dimensional, exhibiting height, width, and depth.

Learning Objectives

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

Key Takeaways

Key Points

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

Central Terms

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

Shape refers to an expanse in two-dimensional infinite that is defined by edges. Shapes are, by definition, always flat in nature and tin be geometric (due east.g., a circumvolve, square, or pyramid) or organic (e.yard., a foliage or a chair). Shapes tin be created by placing two different textures , or shape-groups, next to each other, thereby creating an enclosed expanse, such as a painting of an object floating in water.

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

A "plane" refers to any surface area within space. In two-dimensional art, the " moving picture plane " is the flat surface that the image is created upon, such as paper, canvass, or wood. 3-dimensional figures may be depicted on the apartment picture plane through the employ of the artistic elements to imply depth and book, every bit seen in the painting Small Bouquet of Flowers in a Ceramic Vase by Jan Brueghel the Elder.

January Brueghel the Elder, Pocket-sized Bouquet of Flowers in a Ceramic Vase, 1599: 3-dimensional figures may exist depicted on the flat picture 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 can create a three-dimensional shape. Form is e'er considered three-dimensional equally it exhibits volume—or tiptop, width, and depth. Art makes use of both actual and implied book.

While three-dimensional forms, such equally sculpture, have volume inherently, volume tin likewise be faux, or unsaid, in a two-dimensional work such every bit a painting. Shape, volume, and space—whether bodily or implied—are the basis of the perception of reality.

Fourth dimension and Motion

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

Learning Objectives

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

Primal Takeaways

Cardinal 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 different area within an artwork is some other way to imply motion and the passing of fourth dimension.
• Visual experiments in time and motility were first produced in the mid-19th century, and the photographer Eadweard Muybridge is well-known for his sequential shots.
• The time-based mediums of motion-picture show, video, kinetic sculpture , and performance art employ time and motion by their very definitions.

Fundamental Terms

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

Move, or movement, is considered to be ane of the "principles of art"; that is, one of the tools artists apply to organize the creative elements in a piece of work of art. Motility is employed in both static and in time-based mediums and tin can evidence a direct action or the intended path for the viewer 's 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 case, on a flat picture aeroplane , an image that is smaller and lighter colored than its surroundings will appear to be in the background. Another technique for implying motion and/or time is the placement of a repeated element in different areas within an artwork.

Visual experiments in time and motion were commencement 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 motility of his subjects. Marcel Duchamp's Nude Descending a Staircase, No. 2 exemplifies an accented feeling of motion from the upper left to lower right corner of the piece.

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

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

Chance, Improvisation, and Spontaneity

Dadaism, Surrealism, and the Fluxus move all relied on the elements of risk, improvisation, and spontaneity every bit tools for making art works.

Learning Objectives

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

Key Takeaways

Central 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, frequently characteristic 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 place anywhere, in any grade , and relied heavily on gamble, improvisation, and audience participation.

Key Terms

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

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

Marcel Duchamp, Urinal, 1917: Marcel Duchamp'south Urinal is an example of a "prepare-made," which were objects that were purchased or found and and then declared art.

Dadaism

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

Dadaists used what was readily bachelor to create what was termed an "aggregation," using items such as photographs, trash, stickers, motorbus passes, and notes. The work of the Dadaists involved risk, improvisation, and spontaneity to create fine art. They are known for using "automated writing" or stream of consciousness writing, which ofttimes took nonsensical forms, just allowed for the opportunity of potentially surprising juxtapositions and unconscious creativity.

Surrealism

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

"Surrealism, n. Pure psychic automatism , by which one proposes to express, either verbally, in writing, or past any other style, the existent functioning of thought. Dictation of idea in the absence of all control exercised past reason, outside of all aesthetic and moral preoccupation. "

Like Dadaism before it, the Surrealist motility 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, one later on another. Many Surrealist techniques, including exquisite corpse drawing, immune for the playful creation of art through assigning value to spontaneous product.

The Fluxus movement

The Fluxus move of the 1960s was highly influenced by Dadaism. Fluxus was an international network of artists that skillfully composite together many different disciplines, and whose piece of work was characterized past the use of an farthermost do-it-yourself (DIY) artful and heavily intermedia artworks. In addition, Fluxus was known for its "happenings," which were multi-disciplinary performance events or situations that could take place anywhere. Audition participation was essential in a happening, and therefore relied on a keen deal of surprise and improvisation. Key elements of happenings were often planned, but artists left room for improvisation, which eliminated the purlieus 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 single work takes place nearly oft in installation and performance art.

Learning Objectives

Explain how installation and performance fine art include the five senses of the viewer

Key Takeaways

Key Points

• In gimmicky art, it is quite common for work to cater to the senses of sight, affect, and hearing, while it is somewhat less common to address aroma and sense of taste.
• "Gesamtkunstwerk," or "total work of art," is a High german give-and-take that refers to an artwork that attempts to address all five homo senses.
• Installation art is a genre of three-dimensional artwork that is designed to transform the viewer 's perception of a space .
• Virtual reality is a term that refers to computer-simulated environments.

Fundamental Terms

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

The inclusion of the five human being senses in a unmarried work takes identify virtually often in installation and operation-based art. In addition, works that strive to include all senses at one time generally make use of some form of interactivity, as the gustatory modality clearly must involve the participation of the viewer. Historically, this attention to all senses was reserved to ritual and ceremony . In gimmicky art, it is quite common for piece of work to cater to the senses of sight, touch on, and hearing, while somewhat less common for fine art to accost the senses of aroma and gustation.

The High german word "Gesamtkunstwerk," meaning "total piece of work of fine art," refers to a genre of artwork that attempts to accost all v human senses. The concept was brought to prominence past the High german opera composer Richard Wagner in 1849. Wagner staged an opera that sought to unite the fine art forms, which he felt had go overly disparate. Wagner's operas paid great attention to every particular in club to attain a state of total artistic immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , simply 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. Embankment 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 there is some overlap between these terms. The Fluxus movement of the 1960s is key to the development of installation and operation art as mediums.

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

"Virtual reality" is a term that refers to computer-simulated environments. Currently, almost virtual reality environments are visual experiences, just some simulations include boosted sensory information. Immersive virtual reality has developed in recent years with the improvement of technology and is increasingly addressing the 5 senses within a virtual realm. Artists have been exploring the possibilities of these simulated and virtual realities with the expansion of the discipline of cyberarts, though what constitutes cyberart continues to exist up for contend. Environments such as the virtual world of Second Life are generally accepted, only whether or not video games should exist considered art remains undecided.

Compositional Residue

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

Learning Objectives

Categorize the elements of compositional residual in a work of art

Primal Takeaways

Primal Points

• A harmonious compositional balance involves arranging elements and so that no one part of a work overpowers or seems heavier than any other part.
• The iii most common types of compositional balance are symmetrical, asymmetrical, and radial .
• When counterbalanced, a composition appears stable and visually right. Just equally symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" appear, the overall residue 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 middle.
• symmetry:Verbal correspondence on either side of a dividing line, aeroplane, center, or axis. The satisfying arrangement of a counterbalanced distribution of the elements of a whole.
• asymmetry:Want of symmetry, or proportion between the parts of a matter, particularly want of bilateral symmetry. Lacking a common measure betwixt two objects or quantities; Incommensurability. That which causes something to not be symmetrical.

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

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

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

Symmetrical balance is the well-nigh 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 moving picture airplane 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 balance. The opposite of symmetry is asymmetry .

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

Disproportion is defined as the absence of, or a violation of, the principles of symmetry. Examples of asymmetry appear unremarkably in architecture. Although pre-modernistic architectural styles tended to place an accent on symmetry (except where extreme site conditions or historical developments pb away from this classical ideal), modern and postmodern architects frequently used asymmetry as a design element. For case, while most bridges employ a symmetrical form due to intrinsic simplicities of design, analysis, fabrication, and economical use of materials, a number of modern bridges have deliberately departed from this, either in response to site-specific considerations or to create a dramatic design statement. .

Oakland Bay Span: Eastern span replacement of the San Francisco–Oakland Bay Span reflects asymmetrical architectural pattern.

Radial balance refers to circular elements in compositions. In classical geometry, a radius of a circle or sphere is whatever line segment from its center to its perimeter. By extension, the radius of a circle or sphere is the length of whatsoever such segment, which is one-half the diameter. The radius may exist more half the diameter, which is normally divers equally the maximum altitude between any 2 points of the figure. The inradius of a geometric effigy is usually the radius of the largest circumvolve or sphere contained in it. The inner radius of a band, tube or other hollow object is the radius of its cavity. The name "radial" or "radius" comes from Latin radius, significant "ray" but also the spoke of a circular chariot bike.

Rhythm

Artists utilize rhythm as a tool to guide the eye of the viewer through works of art.

Learning Objectives

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

Key Takeaways

Key Points

• Rhythm may be more often than not defined as a "movement marked by the regulated succession of strong and weak elements, or of reverse or different atmospheric condition" (Betimes. 1971).
• Rhythm may also refer to visual presentation as "timed motion through space " (Jirousek 1995), and a common language of pattern unites rhythm with geometry.
• For instance, placing a red spiral at the bottom left and acme right, for example, volition cause the heart to motility from i spiral, to the other, and everything in between. It is indicating movement in the piece by the repetition of elements and, therefore, can make artwork seem agile.

Key Terms

• symmetry:Exact correspondence on either side of a dividing line, aeroplane, center or axis. The satisfying organisation 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 piece of artwork. When the principles and elements are successfully combined, they assist in creating an aesthetically pleasing or interesting work of fine art. While there is some variation among them, motion, unity, harmony, variety, balance, rhythm, accent, contrast , proportion, and pattern are normally sited every bit principles of art.

Rhythm (from Greek rhythmos, "any regular recurring movement, symmetry " (Liddell and Scott 1996)) may be generally defined as a "movement marked by the regulated succession of strong and weak elements, or of opposite or dissimilar conditions" (Anon. 1971). This general meaning of regular recurrence or pattern in time may be practical to a wide diverseness 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, or the meter of spoken linguistic communication and verse. Rhythm may as well refer to visual presentation, every bit "timed movement through space" (Jirousek 1995), and a common language of design unites rhythm with geometry.

In a visual composition , pattern and rhythm are generally expressed by showing consistency with colors or lines . For instance, placing a blood-red spiral at the bottom left and top right, for example, will cause the center to move from i screw, to the other, so to the space in between. The repetition of elements creates move of the viewer 'due south eye and can, 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 within a composition.

Learning Objectives

Utilise the concept of proportion to unlike works of art

Key Takeaways

Key Points

• Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the creative person uses unnatural proportion or scale to draw the relative importance of the figures in the artwork.
• Mathematically, proportion is the relation between elements and a whole. In compages, the whole is not merely a building but the set up and setting of the site.
• Among the diverse ancient artistic traditions, the harmonic proportions, human proportions, cosmic orientations, diverse aspects of sacred geometry , and small whole-number ratios were all applied as part of the practice of architectural pattern.

Key Terms

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

Proportion is a measurement of the size and quantity of elements within a composition . Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the artist uses unnatural proportion or scale to depict the relative importance of the figures in the artwork. In ancient Egyptian fine art, for example, gods and of import political figures appear much larger than mutual people. Beginning with the Renaissance , artists recognized the connection betwixt proportion and perspective , and the illusion of three-dimensional space . Images of the human body in exaggerated proportion were used to depict the reality an artist interpreted.

Depiction of Narmer from the Narmer Palette: Narmer, a Predynastic ruler, accompanied past men carrying the standards of diverse 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 betwixt elements and a whole. In architecture, the whole is not only a building but the prepare 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, current of air, acme , and choice of materials all relate to a standard of architectural proportion.

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

Amongst the various ancient artistic traditions, the harmonic proportions, human proportions, catholic orientations, various aspects of sacred geometry, and modest whole-number ratios were all applied as function of the practice of architectural pattern. For instance, the Greek classical architectural orders are all proportioned rather than dimensioned or measured modules, because the earliest modules were not based on trunk parts and their spans (fingers, palms, easily, and feet), just rather on column diameters and the widths of arcades and fenestrations .

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

Typically, i set of cavalcade bore 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 frail module—used for door and window trim, tile work, and covering in Mesopotamia and Greece—was based on the proportions of the hand and the pollex.

Dating dorsum to the Pythagoreans, there was an idea that proportions should be related to standards, and that the more than general and formulaic the standards, the better. This concept—that at that place should exist beauty and elegance evidenced by a adept 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

Space in art can be defined as the area 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 organization of infinite is referred to every bit limerick and is an essential component to any piece of work of art.
• The space of an artwork includes the background, foreground, and middle ground , as well as the distance between, around, and within things.
• In that location are two types of space: positive infinite and negative space.
• After spending hundreds of years developing linear perspective , Western artistic notions nearly the accurate depiction of space went through a radical shift at the beginning of the 20th century.
• Cubism and subsequent modernist movements represented an of import shift in the use of space within Western art, which is even so being felt today.

Fundamental Terms

• infinite:The altitude or empty surface area between things.
• Cubism:An artistic move in the early on 20th century characterized past the depiction of natural forms every bit geometric structures of planes.

The organisation of infinite in fine art is referred to as limerick, and is an essential component of any work of art. Infinite can be generally divers as the surface area that exists betwixt any ii identifiable points.

Space is conceived of differently in each medium . The space in a painting, for example, includes the background, foreground and eye basis, while 3-dimensional infinite, similar sculpture or installation , will involve the distance betwixt, around, and inside points of the piece of work. Space is further categorized as positive or negative. "Positive space" can exist defined as the subject of an artwork, while "negative space" tin be divers as the space around the subject area.

Over the ages, space has been conceived of in various means. Artists have devoted a cracking bargain of fourth dimension 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 it appears. Later on spending hundreds of years developing linear perspective, Western artistic conventions about 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 important shift in the use of infinite within Western art, the bear upon of which is still existence felt.

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

Two-Dimensional Space

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

Learning Objectives

Discuss ii-dimensional space in art and the physical properties on which information technology is based

Central Takeaways

Primal Points

• In concrete terms, dimension refers to the constituent structure of all space and its position in time.
• Drawing is a form of visual fine art that makes use of any number of instruments to mark a two-dimensional medium .
• Most any dimensional form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these bones shapes have been assembled into a likeness, then the cartoon can be refined into a more accurate and polished form.

Primal Terms

• dimension:A single attribute of a given thing. A measure of spatial extent in a particular management, such every bit peak, width or breadth, or depth.
• 2-Dimensional:Existing in two dimensions. Not creating the illusion of depth.
• Planar:Of or pertaining to a plane. Flat, ii-dimensional.

Two dimensional, or bi-dimensional, space is a geometric model of the planar project of the physical universe in which we alive. The 2 dimensions are normally called length and width. Both directions lie on the same plane . In physics, our bi-dimensional infinite is viewed every bit a planar representation of the space in which we move.

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

In art composition , drawing is a grade of visual fine art that makes use of any number of drawing instruments to mark a two-dimensional medium (significant that the object does not have depth). One of the simplest and most efficient means of communicating visual ideas, the medium has been a popular and fundamental means of public expression throughout man history. Additionally, the relative availability of basic drawing instruments makes drawing more universal than well-nigh other media.

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

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

Drawing man figures: Henri de Toulouse-Lautrec'southward Madame Palmyre with Her Domestic dog, 1897.

Linear Perspective and Three-Dimensional Infinite

Perspective is an approximate representation on a apartment surface of an image as information technology is seen by the centre.

Learning Objectives

Explain perspective and its impact on fine art limerick

Key Takeaways

Key Points

• Systematic attempts to evolve a arrangement of perspective are commonly considered to have begun effectually the fifth century B.C. in the art of Ancient Hellenic republic.
• The earliest fine art paintings and drawings typically sized objects and characters hierarchically co-ordinate to their spiritual or thematic importance, not their distance from the viewer .
• In Medieval Europe, the use and composure of attempts to convey altitude increased steadily but without a basis in a systematic theory.
• By the Renaissance , nearly every artist in Italy used geometrical perspective in their paintings, both to portray depth and too as a new and "of the moment" compositional method.

Cardinal Terms

• curvilinear:Having bends; curved; formed by curved lines.
• horizon line:A horizontal line in perspective drawing, directly opposite the viewer'southward eye and often unsaid, that represents objects infinitely far away and determines the bending or perspective from which the viewer sees the work.
• vanishing point:The indicate 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 approximate representation on a flat surface of an epitome as it is seen by the eye, calculated by assuming a item vanishing betoken . Systematic attempts to evolve a organisation of perspective are usually considered to have begun around the fifth century BCE in the art of Aboriginal Hellenic republic. By the afterwards periods of antiquity , artists—especially those in less pop traditions—were well aware that distant objects could exist shown smaller than those close at hand for increased illusionism. But whether this convention was actually used in a work depended on many factors. Some of the paintings plant in the ruins of Pompeii show a remarkable realism and perspective for their time.

The primeval fine art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, non their distance from the viewer. The nigh important figures are often shown equally the highest in a limerick , besides from hieratic motives, leading to the "vertical perspective" mutual 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 Period had no tradition of attempting compositions of large numbers of figures, and Early on Medieval art was slow and inconsistent in relearning the convention from classical models, though the procedure 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 altitude, and use and sophistication of attempts to convey distance increased steadily during the menstruum, but without a basis in a systematic theory.

By the Renaissance, however, nigh every artist in Italy used geometrical perspective in their paintings. Not just was this apply of perspective a manner to portray depth, but it was as well a new method of composing a painting. Paintings began to bear witness 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 office of the training of artists across Europe and, later, other parts of the world.

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

A drawing has ane-point perspective when information technology contains merely 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. Any objects that are made up of lines either directly parallel with the viewer'due south line of sight or directly perpendicular (the railroad slats) can be represented with one-point perspective. These parallel lines converge at the vanishing point.

Two-point perspective can be used to draw the aforementioned objects every bit 1-point perspective, but rotated—such as looking at the corner of a house, or looking at two forked roads shrink into the altitude. In looking at a business firm from the corner, for example, one wall would recede towards 1 vanishing betoken and the other wall would recede towards the opposite vanishing signal.

Three-point perspective is used for buildings depicted from above or beneath. In improver to the two vanishing points from earlier, one for each wall, there is at present a 3rd i for how those walls recede into the ground . This third vanishing betoken would be below the ground.

4-point perspective is the curvilinear variant of ii-bespeak perspective. The resulting elongated frame tin can exist used both horizontally and vertically. Like all other foreshortened variants of perspective, 4-signal perspective starts off with a horizon line, followed by 4 equally spaced vanishing points to delineate four vertical lines. Considering vanishing points exist just when parallel lines are present in the scene, a perspective with no vanishing points ("nil-signal") occurs if the viewer is observing a not-rectilinear scene. The near common example of a nonlinear scene is a natural scene (e.g., a mountain range), which frequently does not comprise any parallel lines. A perspective without vanishing points tin notwithstanding create a sense of depth.

Distortions of Infinite and Foreshortening

Baloney is used to create diverse representations of space in 2-dimensional works of art.

Learning Objectives

Place how baloney is both employed and avoided in works of art

Key Takeaways

Primal Points

• Perspective projection baloney is the inevitable misrepresentation of three-dimensional space when drawn or "projected" onto a two-dimensional surface. It is impossible to accurately depict three-dimensional reality on a ii-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 use of one or more vanishing points .
• Although distortion can be irregular or follow many patterns, the nearly ordinarily encountered distortions in limerick , particularly 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 center
• projection:The epitome that a translucent object casts onto some other object.
• foreshortening:A technique for creating the appearance that the object of a drawing is extending into infinite by shortening the lines with which that object is drawn.

A distortion is the alteration of the original shape (or other characteristic) of an object, image, sound, or other class of information or representation. Distortion can be wanted or unwanted past the artist. Distortion is commonly unwanted when information technology concerns physical deposition of a work. Notwithstanding, it is more commonly referred to in terms of perspective, where information technology is employed to create realistic representations of space in ii-dimensional works of art.

Perspective Projection Baloney

Perspective project distortion is the inevitable misrepresentation of three-dimensional infinite when drawn or "projected" onto a two-dimensional surface. It is incommunicable to accurately depict three-dimensional reality on a two-dimensional plane. Nonetheless, there are several constructs bachelor that allow for seemingly accurate representation. The well-nigh mutual of these is perspective project. Perspective projection tin exist used to mirror how the eye sees past making employ of one or more than vanishing points.

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

Foreshortening

Foreshortening is the visual effect or optical illusion that causes an object or altitude to appear shorter than information technology actually is considering it is angled toward the viewer . Although foreshortening is an important element in art where visual perspective is being depicted, foreshortening occurs in other types of two-dimensional representations of three-dimensional scenes, such as oblique parallel projection drawings.

The physiological basis of visual foreshortening was undefined until the year g when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, first explained that light projects conically into the heart. 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 heart, parallel lines announced to intersect (like the afar edges of a path or road), whereas in "undistorted" nature, they do not. In many of Giotto's paintings, perspective is employed to achieve various distortion effects.

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

Baloney in Photography

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

Radial distortion can usually be classified equally one of ii main types: barrel distortion and pincushion distortion. Barrel distortion occurs when prototype magnification decreases with altitude from the optical axis. The apparent upshot is that of an prototype which has been mapped around a sphere (or butt). Fisheye lenses, which take hemispherical views, utilize this blazon of distortion equally a way to map an infinitely wide object plane into a finite image surface area.

On the other hand, in pincushion distortion, the image magnification increases with the distance from the optical axis. The visible effect is that lines that practise not go through the center of the image are bowed inwards, towards the heart of the image, like a pincushion. A certain amount of pincushion distortion is ofttimes found with visual optical instruments (i.due east., binoculars), where it serves to eliminate the earth issue.

Cylindrical perspective is a form of distortion 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 straight. This is as well a mutual characteristic of wide-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is only butt distortion, but only in the horizontal plane. It is an artifact of the squeezing process that anamorphic lenses do to fit widescreen images onto standard-width picture show.

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