Light Colored Boxes and One Dark Color Box to Show Emphasis Clip Art

Line

A line is defined every bit a marking that connects the space between 2 points, taking any form along the manner.

Learning Objectives

Compare and contrast different uses of line in art

Key Takeaways

Primal Points

• Actual lines are lines that are physically nowadays, existing equally solid connections between one or more points.
• Implied line refers to the path that the viewer 's center takes as information technology follows shapes, colors, and forms along any given path.
• Straight or classic lines provide stability and structure to a composition and can be vertical, horizontal, or diagonal on a work'southward surface.
• Expressive lines refer to curved marks that increase the sense of dynamism of a piece of work of fine art.
• The outline or contour 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.
• 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 image surface and can be oriented in any direction.

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 minor lines that intersect.
• line:A path through 2 or more points.

The line is an essential element of art, defined as a mark that connects the space between 2 points, taking whatsoever grade along the manner. Lines are used most frequently to ascertain shape in two-dimensional works and could exist called the most aboriginal, as well as the virtually universal, forms of mark making.

There are many unlike types of lines, all characterized past their lengths existence greater than their width, as well as by the paths that they take. Depending on how they are used, lines help to make up one's mind the motion, direction, and energy of a work of art. The quality of a line refers to the graphic symbol that is presented by a line in social club to animate a surface to varying degrees.

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

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

Straight or classic lines add stability and structure to a composition and can be vertical, horizontal, or diagonal on the surface of the piece of work. Expressive lines refer to curved marks that increase the sense of dynamism of a piece of work of fine art. These types of lines ofttimes follow an undetermined path of sinuous curves. 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 and can requite 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 shading and texture to surfaces. Cross-hatch lines provide boosted texture and tone to the image surface and can exist oriented in any direction. Layers of cross-hatching tin can add rich texture and book to image surfaces.

Light and Value

Value refers to the utilize of light and night in fine art.

Learning Objectives

Explain the artistic utilise of lite and dark (also known as "value")

Key Takeaways

Central Points

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

Fundamental Terms

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

The apply of lite and nighttime in art is called value. Value can be subdivided into tint (light hues) and shade (night hues). In painting, which uses subtractive colour, value changes are achieved past adding black or white to a color. Artists may likewise utilise shading, which refers to a more than subtle manipulation of value. The value scale is used to evidence the standard variations in tones . Values near the lighter end of the spectrum are termed loftier-keyed, while those on the darker end are depression-keyed.

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

In ii-dimensional artworks, the use of value tin aid to requite a shape the illusion of mass or volume. Information technology will too requite the entire composition a sense of lighting. Loftier contrast refers to the placing of lighter areas directly against much darker ones, so their divergence is showcased, creating a dramatic effect. High contrast also refers to the presence of more blacks than white or grey. Low-contrast images result from placing mid-range values together so there is not much visible difference between them, creating a more subtle mood.

In Baroque painting, the technique of chiaroscuro was used to produce highly dramatic furnishings in art. Chiaroscuro, which means literally "light-dark" in Italian, refers to clear tonal contrasts exemplified past very loftier-keyed whites, placed directly against very low-keyed darks. Candlelit scenes were common in Baroque painting as they effectively produced this dramatic blazon 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's The Denial of St. Peter is an excellent example of how low-cal can be manipulated in artwork.

Colour

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

Learning Objectives

Express the nearly important elements of color theory and artists' use of color

Key Takeaways

Primal Points

• Color theory first appeared in the 17th century, when Isaac Newton discovered that white low-cal could be passed through a prism and divided into the total spectrum of colors.
• The spectrum of colors independent in white low-cal are red, orange, yellowish, greenish, bluish, indigo , and violet.
• Color theory divides color into the " primary colors " of red, yellow, and bluish, which cannot be mixed from other pigments, and the "secondary colors" of dark-green, orange, and violet, which issue from dissimilar 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 colour wheel and represent the strongest contrast for those particular two colors.

Fundamental Terms

• complementary color:A color which is regarded as the contrary of another on the colour wheel (i.e., ruddy and greenish, yellowish and imperial, and orange and blue).
• value:The relative darkness or lightness of a color in a specific area of a painting or other visual art.
• principal colour:Any of three colors which, when added to or subtracted from others in dissimilar amounts, can generate all other colors.
• tint:A color considered with reference to other very similar colors. Ruby and blueish are unlike colors, but two shades of crimson are dissimilar tints.
• gradation:A passing by small-scale degrees from one tone or shade, as of color, to another.
• hue:A color, or shade of color.

Color is a fundamental artistic chemical element which refers to the apply of hue in art and design. It is the near complex of the elements because of the broad array of combinations inherent to information technology. 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 calorie-free are, in order: red, orange, yellow, green, blue, indigo and violet.

Color theory subdivides color into the "primary colors" of red, yellowish, and blue, which cannot be mixed from other pigments; and the "secondary colors" of light-green, orange and violet, which effect from unlike combinations of the primary colors. Master and secondary colors are combined in various mixtures to create "tertiary colors." Color theory is centered around the color cycle, a diagram that shows the relationship of the various colors to each other .

Color cycle: The colour bicycle 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 color theory and result from lighter and darker variations in value, respectively. "Tone" refers to the gradation or subtle changes of a color on a lighter or darker scale. "Saturation" refers to the intensity of a color.

Additive and Subtractive Color

Condiment color is color created by mixing red, light-green, and blueish lights. Television receiver screens, for example, use additive colour as they are made up of the chief colors of red, blue and light-green (RGB). Subtractive color,  or "process color," works as the reverse of additive color and the main colors become cyan, magenta, yellowish, and black (CMYK). Common applications of subtractive color can be constitute in printing and photography.

Complementary Color

Complementary colors tin exist constitute directly opposite each other on the color wheel (purple and yellow, green and red, orange and blue). When placed side by side to each other, these pairs create the strongest dissimilarity for those particular ii colors.

Warm and Cool Colour

The stardom between warm and absurd colors has been important since at least the late 18th century. The contrast, every bit traced by etymologies in the Oxford English Dictionary, seems related to the observed contrast in landscape calorie-free, between the "warm" colors associated with daylight or dusk and the "cool" colors associated with a gray or overcast day. Warm colors are the hues from ruby through yellowish, browns and tans included. Cool colors, on the other mitt, are the hues from blue dark-green through blue violet, with most grays included. Color theory has described perceptual and psychological effects to this contrast. Warm colors are said to advance or appear more than active in a painting, while cool colors tend to recede. Used in interior design or way, warm colors are said to arouse or stimulate the viewer , while cool colors calm and relax.

Texture

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

Learning Objectives

Recognize the utilize of texture in art

Key Takeaways

Fundamental Points

• Visual texture refers to an implied sense of texture that the artist creates through the use of various artistic elements such as line , shading, and colour.
• Actual texture refers to the physical rendering or the real surface qualities we can observe by touching an object.
• Visible brushstrokes and different amounts of pigment will create a physical texture that can add together to the expressiveness of a painting and draw attention to specific areas within it.
• Information technology is possible for an artwork to contain numerous visual textures but still remain smooth to the touch.

Cardinal Terms

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

Texture

Texture in art stimulates the senses of sight and touch and refers to the tactile quality of the surface of the fine art. It is based on the perceived texture of the canvass or surface, which includes the application of the paint. In the context of artwork, at that place are two types of texture: visual and actual. Visual texture refers to an implied sense of texture that the artist creates through the use of various artistic elements such as line, shading and color. Actual texture refers to the physical rendering or the existent surface qualities we tin observe by touching an object, such as paint awarding or 3-dimensional art.

It is possible for an artwork to contain numerous visual textures, yet still remain polish to the touch. Take for instance Realist or Illusionist works, which rely on the heavy use of paint and varnish, yet maintain an utterly smooth surface. In Jan Van Eyck's painting "The Virgin of Chancellor Rolin" we can detect a swell deal of texture in the clothing and robes specially, while the surface of the work remains very smooth .

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

Paintings often use bodily texture also, which we can observe in the physical awarding of pigment. Visible brushstrokes and different amounts of paint volition create a texture that adds to the expressiveness of a painting and depict attending to specific areas inside it. The artist Vincent van Gogh is known to take used a dandy bargain of actual texture in his paintings, noticeable in the thick application of paint in such paintings as Starry Night.

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

Shape and Book

Shape refers to an area in a two-dimensional space that is defined by edges; volume is 3-dimensional, exhibiting summit, width, and depth.

Learning Objectives

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

Key Takeaways

Key Points

• "Positive space " refers to the infinite of the defined shape or effigy.
• "Negative space" refers to the space that exists around and betwixt i or more shapes.
• A " plane " in art refers to whatsoever surface area within space.
• " Course " is a concept that is related to shape and can be created past combining two or more shapes, resulting in a three-dimensional shape.
• Art makes employ of both actual and unsaid volume .
• Shape, volume, and space, whether actual or unsaid, are the footing of the perception of reality.

Key Terms

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

Shape refers to an surface area in two-dimensional space that is defined by edges. Shapes are, by definition, e'er apartment in nature and can be geometric (eastward.g., a circle, foursquare, or pyramid) or organic (e.one thousand., a leaf or a chair). Shapes can be created by placing ii dissimilar 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 defined shape, or figure. Typically, the positive space is the subject area of an artwork. "Negative infinite" refers to the space that exists effectually and betwixt i or more than shapes. Positive and negative infinite can become difficult to distinguish from each other in more abstract works.

A "plane" refers to any surface surface area within infinite. In two-dimensional fine art, the " picture plane " is the apartment surface that the prototype is created upon, such as paper, canvas, or wood. 3-dimensional figures may be depicted on the flat picture plane through the use of the artistic elements to imply depth and volume, as seen in the painting Small Bouquet of Flowers in a Ceramic Vase by Jan Brueghel the Elderberry.

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

"Grade" is a concept that is related to shape. Combining two or more shapes tin create a three-dimensional shape. Course is always considered 3-dimensional as it exhibits book—or height, width, and depth. Fine art makes use of both actual and unsaid book.

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

Time and Move

Movement, a principle of art, is a tool artists utilise to organize the artistic elements in a work; information technology is employed in both static and time-based mediums.

Learning Objectives

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

Key Takeaways

Fundamental Points

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

Key Terms

• frames per 2nd:The number of times an imaging device produces unique sequent images (frames) in one second. Abbreviation: FPS.
• static:Fixed in place; having no motility.

Motion, or movement, is considered to be i of the "principles of art"; that is, one of the tools artists use to organize the artistic elements in a work of art. Movement is employed in both static and in fourth dimension-based mediums and can bear witness a straight action or the intended path for the viewer 's heart to follow through a slice.

Techniques such as scale and proportion are used to create the feeling of motion or the passing of time in static visual artwork. For example, on a flat picture plane , an prototype that is smaller and lighter colored than its environment will announced to exist in the background. Another technique for implying movement and/or time is the placement of a repeated element in unlike areas inside an artwork.

Visual experiments in time and motion were first produced in the mid-19th century. The 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 motility of his subjects. Marcel Duchamp's Nude Descending a Staircase, No. 2 exemplifies an absolute 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 have the ability to imply or suggest fourth dimension and motility, the time-based mediums of pic, video, kinetic sculpture, and performance art demonstrate fourth dimension and motility by their very definitions. Film is many static images that are quickly passed through a lens. Video is essentially the aforementioned process, simply digitally-based and with fewer frames per 2nd . Performance art takes identify in real fourth dimension and makes employ of existent people and objects, much like theater. Kinetic art is art that moves, or depends on movement, for its result. All of these mediums use fourth dimension and move equally a key aspect of their forms of expression.

Chance, Improvisation, and Spontaneity

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

Learning Objectives

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

Primal 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 similar Dadaist works, often feature an element of surprise, unexpected juxtaposition , and tapping into the unconscious heed.
• 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 form , and relied heavily on chance, improvisation, and audience participation.

Key Terms

• happening:A spontaneous or improvised result, particularly i that involves audience participation.
• aggregation:A collection of things which accept been gathered together..

Run a risk, improvisation, and spontaneity are elements that tin exist used to create art, or they can be the very purpose of the artwork itself. Any medium tin utilize these elements at whatever point within the artistic process.

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

Dadaism

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

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

Surrealism

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

"Surrealism, north. Pure psychic automatism , by which 1 proposes to express, either verbally, in writing, or by any other manner, the real operation of thought. Dictation of idea in the absenteeism of all command exercised by reason, exterior 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 take a chance and surprise every bit a tool to harness the creativity of the unconscious mind. Surrealists are known for having invented "exquisite corpse" drawing, an practise where words and images are collaboratively assembled, i after some other. Many Surrealist techniques, including exquisite corpse drawing, allowed for the playful cosmos of art through assigning value to spontaneous product.

The Fluxus movement

The Fluxus movement of the 1960s was highly influenced past 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 farthermost do-it-yourself (DIY) aesthetic and heavily intermedia artworks. In improver, Fluxus was known for its "happenings," which were multi-disciplinary performance events or situations that could take place anywhere. Audience participation was essential in a happening, and therefore relied on a great bargain of surprise and improvisation. Cardinal elements of happenings were oftentimes planned, but artists left room for improvisation, which eliminated the purlieus between the artwork and the viewer , thus making the audience an of import part of the art.

Inclusion of All Five Senses

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

Learning Objectives

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

Key Takeaways

Primal Points

• In contemporary art, information technology is quite common for work to cater to the senses of sight, touch, and hearing, while it is somewhat less common to address smell and gustation.
• "Gesamtkunstwerk," or "total work of art," is a German give-and-take that refers to an artwork that attempts to address all five man senses.
• Installation art is a genre of iii-dimensional artwork that is designed to transform the viewer 's perception of a infinite .
• Virtual reality is a term that refers to computer-imitation environments.

Primal Terms

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

The inclusion of the v man senses in a single work takes place most oftentimes in installation and performance-based fine art. In addition, works that strive to include all senses at once mostly make use of some form of interactivity, as the sense of gustatory modality clearly must involve the participation of the viewer. Historically, this attention to all senses was reserved to ritual and ceremony . In contemporary art, information technology is quite mutual for work to cater to the senses of sight, touch, and hearing, while somewhat less mutual for art to accost the senses of smell and gustatory modality.

The German language word "Gesamtkunstwerk," significant "total work of art," refers to a genre of artwork that attempts to address all 5 man senses. The concept was brought to prominence by the German opera composer Richard Wagner in 1849. Wagner staged an opera that sought to unite the art forms, which he felt had become overly disparate. Wagner's operas paid peachy attention to every detail in order to reach a state of total creative immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , merely 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 space. Beach by Rachel Whiteread exemplifies this blazon of transformation. The term generally pertains to an interior space, while Land Art typically refers to an outdoor space, though there is some overlap betwixt 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's installation Embankment is a type of art designed to transform the viewer's perception of space.

"Virtual reality" is a term that refers to calculator-fake 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 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 subject of cyberarts, though what constitutes cyberart continues to exist upwardly for debate. Environments such equally the virtual world of Second Life are mostly accepted, just whether or not video games should be considered fine art remains undecided.

Compositional Remainder

Compositional residue refers to the placement of the creative elements in relation to each other inside a work of fine art.

Learning Objectives

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

Key Takeaways

Key Points

• A harmonious compositional balance involves arranging elements so that no one office of a work overpowers or seems heavier than whatever other role.
• The iii most common types of compositional balance are symmetrical, asymmetrical, and radial .
• When balanced, a composition appears stable and visually correct. Just equally symmetry relates to aesthetic 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.

Key Terms

• radial:Bundled similar rays that radiate from, or converge to, a common center.
• symmetry:Verbal correspondence on either side of a dividing line, plane, center, or axis. The satisfying arrangement of a counterbalanced distribution of the elements of a whole.
• asymmetry:Desire of symmetry, or proportion between the parts of a affair, especially desire of bilateral symmetry. Lacking a common measure between two objects or quantities; Incommensurability. That which causes something to not be symmetrical.

Compositional balance 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 equally symmetry relates to artful preference and reflects an intuitive sense for how things "should" appear, the overall balance of a given limerick contributes to outside judgments of the work.

Creating a harmonious compositional balance involves arranging elements and so that no unmarried part of a work overpowers or seems heavier than whatsoever other part. The three most common types of compositional balance are symmetrical, asymmetrical, and radial.

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

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

Leonardo da Vinci, Vitruvian Human being, 1487: Leonardo da Vinci'southward Vitruvian Homo is often used as a representation of symmetry in the man torso and, by extension, the natural universe.

Asymmetry is defined as the absence of, or a violation of, the principles of symmetry. Examples of asymmetry appear usually in compages. Although pre-modernistic architectural styles tended to place an emphasis on symmetry (except where farthermost site conditions or historical developments lead away from this classical platonic), modern and postmodern architects frequently used asymmetry as a design element. For instance, while nearly bridges employ a symmetrical form due to intrinsic simplicities of design, assay, fabrication, and economical utilise 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 Bridge: Eastern span replacement of the San Francisco–Oakland Bay Bridge reflects asymmetrical architectural design.

Radial balance refers to circular elements in compositions. In classical geometry, a radius of a circumvolve or sphere is whatever line segment from its center to its perimeter. By extension, the radius of a circumvolve or sphere is the length of any such segment, which is half the bore. The radius may be more than half the bore, which is normally defined as the maximum distance between any two points of the figure. The inradius of a geometric figure is commonly the radius of the largest circle or sphere contained in information technology. The inner radius of a ring, tube or other hollow object is the radius of its cavity. The name "radial" or "radius" comes from Latin radius, meaning "ray" but also the spoke of a circular chariot wheel.

Rhythm

Artists apply rhythm equally a tool to guide the centre of the viewer through works of fine art.

Learning Objectives

Recognize and translate the employ of rhythm in a work of art

Key Takeaways

Key Points

• Rhythm may be generally defined equally a "move marked by the regulated succession of strong and weak elements, or of opposite or different conditions" (Anon. 1971).
• Rhythm may besides refer to visual presentation as "timed motility through space " (Jirousek 1995), and a common language of pattern unites rhythm with geometry.
• For example, placing a red spiral at the lesser left and top right, for example, will cause the heart to motility from one spiral, to the other, and everything in betwixt. Information technology is indicating movement in the slice by the repetition of elements and, therefore, can make artwork seem agile.

Fundamental Terms

• symmetry:Verbal correspondence on either side of a dividing line, aeroplane, center or centrality. The satisfying arrangement of a counterbalanced 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 aid in creating an aesthetically pleasing or interesting work of art. While at that place is some variation among them, move, unity, harmony, variety, rest, rhythm, emphasis, contrast , proportion, and design are normally sited as principles of art.

Rhythm (from Greek rhythmos, "any regular recurring move, symmetry " (Liddell and Scott 1996)) may be mostly defined every bit a "motility marked by the regulated succession of strong and weak elements, or of reverse or dissimilar atmospheric condition" (Anon. 1971). This general significant of regular recurrence or blueprint in time may be applied to a broad variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to millions of years. In the performing arts, rhythm is the timing of events on a human calibration, of musical sounds and silences, of the steps of a dance, or the meter of spoken language and verse. Rhythm may as well refer to visual presentation, as "timed movement through space" (Jirousek 1995), and a common language of pattern unites rhythm with geometry.

In a visual limerick , pattern and rhythm are more often than not expressed by showing consistency with colors or lines . For case, placing a carmine spiral at the bottom left and top right, for example, will cause the centre to motion from 1 spiral, to the other, and then to the infinite in between. The repetition of elements creates movement of the viewer 'due south centre and tin can, therefore, brand the artwork experience active. Hilma af Klint's Svanen (The Swan) exemplifies the visual representation of rhythm using colour 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

Apply the concept of proportion to different works of art

Key Takeaways

Key Points

• Hierarchical proportion is a technique used in art, generally in sculpture and painting, in which the creative person uses unnatural proportion or scale to depict 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 simply a building but the set and setting of the site.
• Among the various ancient artistic traditions, the harmonic proportions, man proportions, cosmic orientations, various aspects of sacred geometry , and pocket-size whole-number ratios were all applied every bit part of the practice of architectural pattern.

Key Terms

• gold 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 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 form of the gilded rectangle, in which the ratio of the longer side to the shorter equals this number—believing this proportion to be aesthetically pleasing.

Proportion is a measurement of the size and quantity of elements within a composition . Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the artist uses unnatural proportion or scale to depict the relative importance of the figures in the artwork. In ancient Egyptian art, for example, gods and important political figures appear much larger than common people. Beginning with the Renaissance , artists recognized the connexion between 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 by men conveying the standards of various local gods. This slice demonstrates the ancient Egyptians' employ of proportion, with Narmer appearing larger than the other figures depicted.

Mathematically, proportion is the relation between elements and a whole. In architecture, the whole is not just a building but the set and setting of the site. The things that make a building and its site "well shaped" include everything from the orientation of the site and the buildings on information technology, to the features of the grounds on which it is situated. Light, shade, wind, tiptop , and option 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 well-nigh every edifice tradition, there is a system of mathematical relations which governs the relationships between aspects of the design. These systems of proportion are oftentimes quite elementary: whole number ratios or incommensurable ratios (such every bit the golden ratio) were adamant using geometrical methods. Generally, the goal of a proportional system is to produce a sense of coherence and harmony amongst the elements of a edifice.

Among the various aboriginal creative 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 non based on body parts and their spans (fingers, palms, hands, and feet), but rather on cavalcade diameters and the widths of arcades and fenestrations .

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

Typically, one 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 another less delicate module—used for door and window trim, tile work, and roofing in Mesopotamia and Greece—was based on the proportions of the mitt and the thumb.

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

Space

Space in fine art can be defined as the area that exists between ii identifiable points.

Learning Objectives

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

Key Takeaways

Primal Points

• The organization of space is referred to every bit composition and is an essential component to any work of art.
• The infinite of an artwork includes the groundwork, foreground, and eye ground , likewise every bit the distance between, around, and within things.
• There are 2 types of space: positive space and negative space.
• After spending hundreds of years developing linear perspective , Western artistic notions about the accurate depiction of space went through a radical shift at the get-go of the 20th century.
• Cubism and subsequent modernist movements represented an important shift in the utilise of space within Western fine art, which is still being felt today.

Fundamental Terms

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

The system of infinite in art is referred to as limerick, and is an essential component of whatsoever piece of work of art. Space can be generally defined as the area that exists betwixt any 2 identifiable points.

Space is conceived of differently in each medium . The space in a painting, for example, includes the groundwork, foreground and center ground, while three-dimensional space, like sculpture or installation , will involve the distance between, around, and within points of the work. Space is further categorized as positive or negative. "Positive space" tin exist defined as the subject of an artwork, while "negative infinite" can exist defined every bit the space around the field of study.

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

The perspective system has been a highly employed convention in Western fine art. Visually, it is an illusionist phenomenon, well suited to realism and the depiction of reality as it appears. After spending hundreds of years developing linear perspective, Western artistic conventions about the accurate delineation of space went through a radical shift at the beginning of the 20th century. The innovations of Cubism and subsequent modernist movements represented an of import shift in the use of infinite within Western fine art, the impact of which is still being felt.

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

Two-Dimensional Space

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

Learning Objectives

Discuss two-dimensional space in art and the physical backdrop on which it is based

Central Takeaways

Key Points

• In physical terms, dimension refers to the constituent construction of all space and its position in fourth dimension.
• Drawing is a form of visual art that makes use of any number of instruments to mark a two-dimensional medium .
• Almost any dimensional form tin be represented by 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 than accurate and polished class.

Central Terms

• dimension:A single aspect of a given thing. A measure of spatial extent in a particular direction, such as acme, 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, two-dimensional.

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

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

In fine art composition , drawing is a class of visual art that makes use of any number of drawing instruments to marker a 2-dimensional medium (significant that the object does not have depth). I of the simplest and almost efficient means of communicating visual ideas, the medium has been a popular and fundamental means of public expression throughout human history. Additionally, the relative availability of basic drawing instruments makes drawing more than universal than most other media.

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

About any dimensional form tin can exist 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 exist refined into a more accurate and polished form. The lines of the archaic shapes are removed and replaced past the final likeness. A more than refined art of figure cartoon relies upon the artist possessing a deep understanding of anatomy and the homo proportions. A trained artist is familiar with the skeleton structure, articulation location, muscle placement, tendon motion, and how the dissimilar parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.

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

Linear Perspective and Three-Dimensional Space

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

Learning Objectives

Explain perspective and its touch on art composition

Key Takeaways

Key Points

• Systematic attempts to evolve a system of perspective are ordinarily considered to take begun around the fifth century B.C. in the art of Aboriginal Greece.
• The primeval fine art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer .
• In Medieval Europe, the use and composure of attempts to convey distance increased steadily only without a ground in a systematic theory.
• By the Renaissance , nearly every artist in Italy used geometrical perspective in their paintings, both to portray depth and also every bit a new and "of the moment" compositional method.

Key Terms

• curvilinear:Having bends; curved; formed by curved lines.
• horizon line:A horizontal line in perspective cartoon, direct opposite the viewer'due south eye and often implied, that represents objects infinitely far away and determines the angle or perspective from which the viewer sees the piece of work.
• vanishing point:The betoken in a perspective drawing at which parallel lines receding from an observer seem to converge.
• Perspective:The technique of representing three-dimensional objects on a 2-dimensional surface.

In fine art, perspective is an guess representation on a flat surface of an paradigm as it is seen by the eye, calculated by assuming a particular vanishing bespeak . Systematic attempts to evolve a system of perspective are usually considered to take begun effectually the 5th century BCE in the art of Ancient Greece. Past the afterwards periods of artifact , artists—especially those in less popular traditions—were well aware that distant objects could be shown smaller than those shut 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 prove a remarkable realism and perspective for their time.

The primeval art paintings and drawings typically sized objects and characters hierarchically co-ordinate to their spiritual or thematic importance, not their distance from the viewer. The most important figures are ofttimes shown equally the highest in a composition , also from hieratic motives, leading to the "vertical perspective" mutual in the art of Ancient Egypt , where a group of "nearer" figures are shown below the larger figure(s).

The fine art of the Migration Period had no tradition of attempting compositions of large numbers of figures, and Early Medieval art was wearisome and inconsistent in relearning the convention from classical models, though the process can be seen underway in Carolingian fine art. European Medieval artists were aware of the general principle of varying the relative size of elements according to distance, and employ and composure of attempts to convey distance increased steadily during the menstruum, but without a basis in a systematic theory.

By the Renaissance, notwithstanding, almost 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 show a single, unified scene, rather than a combination of several. For a while, perspective remained the domain of Florence. Gradually, and partly through the move of academies of the arts, the Italian techniques became function of the training of artists across Europe and, afterwards, other parts of the world.

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

A drawing has one-point perspective when it contains only one vanishing bespeak 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 fabricated up of lines either direct parallel with the viewer's line of sight or directly perpendicular (the railroad slats) tin exist represented with one-indicate perspective. These parallel lines converge at the vanishing point.

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

Three-point perspective is used for buildings depicted from above or below. In addition to the ii vanishing points from earlier, one for each wall, there is now a third one for how those walls recede into the basis . This tertiary vanishing point would be below the footing.

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

Distortions of Infinite and Foreshortening

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

Learning Objectives

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

Key Takeaways

Key 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 two-dimensional plane .
• However, there are several constructs available which allow for seemingly accurate representation. Perspective projection tin exist used to mirror how the eye sees past the use of one or more vanishing points .
• Although distortion tin can be irregular or follow many patterns, the most commonly encountered distortions in composition , especially in photography, are radially symmetric, or approximately so, arising from the symmetry of a photographic lens.

Key Terms

• radial:Arranged like rays that radiate from, or converge into, a mutual centre
• projection:The paradigm that a translucent object casts onto another object.
• foreshortening:A technique for creating the appearance that the object of a drawing is extending into space by shortening the lines with which that object is drawn.

A distortion is the alteration of the original shape (or other characteristic) of an object, image, sound, or other course of information or representation. Distortion tin exist wanted or unwanted by the creative person. Distortion is usually unwanted when it concerns physical degradation of a work. Yet, it is more commonly referred to in terms of perspective, where it is employed to create realistic representations of space in two-dimensional works of art.

Perspective Project Baloney

Perspective projection distortion is the inevitable misrepresentation of three-dimensional space when drawn or "projected" onto a 2-dimensional surface. It is impossible to accurately draw three-dimensional reality on a ii-dimensional plane. Withal, there are several constructs available that let for seemingly accurate representation. The well-nigh common of these is perspective project. Perspective project can exist used to mirror how the middle sees past making use of i or more vanishing points.

Giotto, Lamentation (The Mourning of Christ), 1305–1306: Giotto is one of the most 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 really is because it is angled toward the viewer . Although foreshortening is an important element in art where visual perspective is existence depicted, foreshortening occurs in other types of ii-dimensional representations of iii-dimensional scenes, such every bit oblique parallel projection drawings.

The physiological basis of visual foreshortening was undefined until the yr thou when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, get-go explained that lite projects conically into the middle. A method for presenting foreshortened geometry systematically onto a airplane surface was unknown for some other 300 years. The artist Giotto may have been the first to recognize that the image beheld by the centre is distorted: to the eye, parallel lines appear to intersect (like the afar edges of a path or route), whereas in "undistorted" nature, they practice not. In many of Giotto's paintings, perspective is employed to attain diverse distortion effects.

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

Distortion in Photography

In photography, the projection machinery 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 paradigm is created on the plane by the points of intersection. The resulting image on the project plane reproduces the epitome of the object every bit it is beheld from the station point.

Radial distortion tin normally exist classified as 1 of two main types: butt distortion and pincushion distortion. Barrel baloney occurs when prototype magnification decreases with distance from the optical axis. The credible upshot is that of an image which has been mapped around a sphere (or butt). Fisheye lenses, which have hemispherical views, apply this type of distortion as a style to map an infinitely broad object aeroplane into a finite image area.

On the other mitt, in pincushion distortion, the epitome magnification increases with the distance from the optical axis. The visible effect is that lines that do not go through the center of the image are bowed inward, towards the centre of the image, like a pincushion. A sure amount of pincushion distortion is oftentimes found with visual optical instruments (i.eastward., binoculars), where it serves to eliminate the globe effect.

Cylindrical perspective is a form of distortion caused by fisheye and panoramic lenses, which reproduce straight horizontal lines higher up and below the lens axis level as curved, while reproducing straight horizontal lines on lens axis level as directly. This is besides a mutual feature of broad-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is just barrel distortion, simply only in the horizontal airplane. Information technology is an antiquity of the squeezing process that anamorphic lenses exercise to fit widescreen images onto standard-width film.

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