The Organization of Visual Elements in a Work of Art Is Called

Line

A line is defined equally a mark that connects the space between ii points, taking any class along the way.

Learning Objectives

Compare and contrast different uses of line in art

Cardinal Takeaways

Key Points

• Actual lines are lines that are physically present, existing as solid connections between ane or more points.
• Unsaid line refers to the path that the viewer 's center takes equally it follows shapes, colors, and forms forth any given path.
• Southtraight or classic lines provide stability and structure to a composition and tin can be vertical, horizontal, or diagonal on a piece of 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 border 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 curt lines repeated in intervals, typically in a single management, and are used to add shading and texture to surfaces, while cross-hatch lines provide additional texture and tone to the image surface and can exist oriented in any management.

Cardinal Terms

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

The line is an essential element of art, defined as a marking that connects the space between ii points, taking whatsoever form along the fashion. Lines are used most often to define shape in ii-dimensional works and could be called the most ancient, as well as the virtually universal, forms of mark making.

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

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

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

Straight or classic lines add stability and structure to a limerick and can be vertical, horizontal, or diagonal on the surface of the work. Expressive lines refer to curved marks that increment the sense of dynamism of a work of fine art. These types of lines often follow an undetermined path of sinuous curves. The outline or contour lines create a border or path around the edge of a shape, thereby outlining and defining it. Cantankerous contour lines delineate differences in the features of a surface and can give the illusion of iii dimensions or a sense of form or shading.

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

Calorie-free and Value

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

Learning Objectives

Explain the artistic use of low-cal and dark (also known as "value")

Fundamental Takeaways

Key Points

• In painting, value changes are achieved past calculation blackness or white to a color.
• Value in art is likewise sometimes referred to as " tint " for light hues and "shade" for night hues.
• Values near the lighter cease of the spectrum are termed "high-keyed" while those on the darker terminate are called "low-keyed."
• In two-dimensional art works, the use of value can help to give a shape the illusion of mass or volume .
• Chiaroscuro was a common technique in Baroque painting and refers to clear tonal contrasts exemplified by very high-keyed whites, placed straight confronting very low-keyed darks.

Key Terms

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

The use of light and night in art is called value. Value tin can be subdivided into tint (light hues) and shade (dark hues). In painting, which uses subtractive color, value changes are achieved by adding black or white to a colour. Artists may besides employ shading, which refers to a more than subtle manipulation of value. The value scale is used to bear witness the standard variations in tones . Values near the lighter stop of the spectrum are termed high-keyed, while those on the darker cease are low-keyed.

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

In two-dimensional artworks, the use of value can help to requite a shape the illusion of mass or book. It will besides give the entire limerick a sense of lighting. High contrast refers to the placing of lighter areas directly against much darker ones, so their difference is showcased, creating a dramatic outcome. Loftier contrast also refers to the presence of more blacks than white or grayness. Low-contrast images event from placing mid-range values together so there is not much visible deviation between them, creating a more subtle mood.

In Baroque painting, the technique of chiaroscuro was used to produce highly dramatic effects in art. Chiaroscuro, which means literally "light-dark" in Italian, refers to clear tonal contrasts exemplified past very high-keyed whites, placed direct against very low-keyed darks. Candlelit scenes were common in Baroque painting as they finer 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 Deprival of St. Peter is an splendid example of how lite can exist manipulated in artwork.

Color

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

Learning Objectives

Limited the most important elements of colour theory and artists' utilize of color

Central Takeaways

Primal Points

• Colour theory first appeared in the 17th century, when Isaac Newton discovered that white light could be passed through a prism and divided into the full spectrum of colors.
• The spectrum of colors contained in white calorie-free are red, orange, yellow, greenish, blueish, indigo , and violet.
• Color theory divides colour into the " primary colors " of cherry, yellow, and blue, which cannot exist mixed from other pigments, and the "secondary colors" of green, orange, and violet, which result from different combinations of the primary colors.
• Primary and secondary colors are combined in diverse mixtures to create tertiary colors.
• Complementary colors are found opposite each other on the color cycle and represent the strongest contrast for those particular two colors.

Cardinal Terms

• complementary color:A color which is regarded as the opposite of another on the color wheel (i.e., red and green, yellow and purple, and orangish and blueish).
• value:The relative darkness or lightness of a colour in a specific surface area of a painting or other visual art.
• primary color: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 2 shades of blood-red are different tints.
• gradation:A passing by small degrees from one tone or shade, every bit of color, to another.
• hue:A color, or shade of colour.

Colour is a fundamental creative chemical element which refers to the use of hue in art and design. It is the virtually complex of the elements because of the wide array of combinations inherent to information technology. Color theory first appeared in the 17th century when Isaac Newton discovered that white light could exist passed through a prism and divided into the total spectrum of colors. The spectrum of colors independent in white light are, in order: red, orange, yellow, green, bluish, indigo and violet.

Color theory subdivides color into the "master colors" of red, yellow, and blue, which cannot be mixed from other pigments; and the "secondary colors" of green, orange and violet, which upshot from different combinations of the primary colors. Chief and secondary colors are combined in various mixtures to create "tertiary colors." Color theory is centered around the color wheel, a diagram that shows the relationship of the various colors to each other .

Color cycle: The colour cycle 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 outcome 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 Colour

Additive color is colour created past mixing red, green, and blue lights. Goggle box screens, for example, apply additive color as they are made up of the primary colors of red, blue and green (RGB). Subtractive color,  or "process color," works equally the reverse of additive colour and the main colors become cyan, magenta, yellow, and black (CMYK). Common applications of subtractive colour tin can be institute in press and photography.

Complementary Colour

Complementary colors can be institute directly contrary each other on the color bike (purple and yellow, greenish and ruddy, orangish and bluish). When placed next to each other, these pairs create the strongest dissimilarity for those particular two colors.

Warm and Cool Color

The distinction between warm and cool colors has been of import since at least the late 18th century. The contrast, every bit traced past etymologies in the Oxford English Dictionary, seems related to the observed dissimilarity in mural calorie-free, between the "warm" colors associated with daylight or sunset and the "cool" colors associated with a gray or overcast day. Warm colors are the hues from ruby through yellow, browns and tans included. Cool colors, on the other mitt, are the hues from blueish greenish through blue violet, with nigh 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 blueprint 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 fine art object.

Learning Objectives

Recognize the apply of texture in fine art

Key Takeaways

Key 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 color.
• Actual texture refers to the physical rendering or the real surface qualities nosotros can notice by touching an object.
• Visible brushstrokes and different amounts of pigment will create a physical texture that can add to the expressiveness of a painting and draw attention to specific areas within it.
• It is possible for an artwork to contain numerous visual textures but still remain smoothen to the touch on.

Key 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. Information technology 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 actual. Visual texture refers to an implied sense of texture that the creative person creates through the employ of various artistic elements such as line, shading and color. Actual texture refers to the physical rendering or the real surface qualities we tin can notice by touching an object, such as paint application or three-dimensional art.

It is possible for an artwork to incorporate numerous visual textures, yet still remain smooth to the touch. Take for case Realist or Illusionist works, which rely on the heavy use of paint and varnish, yet maintain an utterly shine surface. In Jan Van Eyck'south painting "The Virgin of Chancellor Rolin" nosotros can notice a bully bargain of texture in the wearable and robes especially, while the surface of the work remains very smooth .

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

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

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

Shape and Volume

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

Learning Objectives

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

Cardinal Takeaways

Key Points

• "Positive infinite " refers to the space of the divers shape or figure.
• "Negative space" refers to the space that exists around and between one or more shapes.
• A " plane " in art refers to any surface area within space.
• " Form " is a concept that is related to shape and tin can be created past combining two or more shapes, resulting in a three-dimensional shape.
• Art makes apply of both actual and unsaid book .
• Shape, book, and space, whether bodily or implied, are the ground of the perception of reality.

Key Terms

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

Shape refers to an area in two-dimensional infinite that is defined past edges. Shapes are, by definition, always flat in nature and tin be geometric (east.thou., a circle, square, or pyramid) or organic (due east.g., a leafage or a chair). Shapes can be created past placing two different textures , or shape-groups, next to each other, thereby creating an enclosed area, such every bit 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 of an artwork. "Negative space" refers to the space that exists around and between 1 or more shapes. Positive and negative space can become hard to distinguish from each other in more than abstract works.

A "aeroplane" refers to whatsoever surface surface area within space. In two-dimensional art, the " picture plane " is the apartment surface that the image is created upon, such every bit newspaper, canvas, or wood. Iii-dimensional figures may be depicted on the apartment picture plane through the utilise of the artistic elements to imply depth and volume, equally seen in the painting Small Bouquet of Flowers in a Ceramic Vase past Jan Brueghel the Elder.

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

"Form" is a concept that is related to shape. Combining two or more shapes can create a iii-dimensional shape. Form is ever considered three-dimensional as information technology exhibits volume—or tiptop, width, and depth. Fine art makes utilize of both bodily and implied volume.

While iii-dimensional forms, such as sculpture, have volume inherently, book can also exist simulated, or implied, in a 2-dimensional work such as a painting. Shape, volume, and space—whether actual or implied—are the basis of the perception of reality.

Time and Motion

Motion, a principle of art, is a tool artists utilise to organize the artistic elements in a piece of work; information technology 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 fourth dimension-based art forms

Cardinal Takeaways

Fundamental Points

• Techniques such as calibration and proportion are used to create the feeling of motion or the passing of time in static a visual slice.
• The placement of a repeated chemical element in different area within an artwork is another style to imply motion and the passing of time.
• Visual experiments in time and motion 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.

Key Terms

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

Movement, or motion, is considered to be one of the "principles of art"; that is, ane of the tools artists use to organize the creative elements in a work of fine art. Motion is employed in both static and in fourth dimension-based mediums and can show a direct 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 move 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 surround will appear to exist in the background. Some other technique for implying motility and/or fourth dimension is the placement of a repeated chemical element in different areas within an artwork.

Visual experiments in time and move were outset produced in the mid-19th century. The lensman Eadweard Muybridge is well known for his sequential shots of humans and animals walking, running, and jumping, which he displayed together to illustrate the motion of his subjects. Marcel Duchamp's Nude Descending a Staircase, No. 2 exemplifies an absolute feeling of motion from the upper left to lower correct corner of the piece.

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

While static fine art forms have the power to imply or suggest time and motion, the time-based mediums of film, video, kinetic sculpture, and performance art demonstrate time and motion past their very definitions. Film is many static images that are rapidly passed through a lens. Video is essentially the same procedure, simply digitally-based and with fewer frames per second . Functioning fine art takes place in real time and makes employ of real people and objects, much similar theater. Kinetic art is art that moves, or depends on movement, for its upshot. All of these mediums employ time and motion as a fundamental aspect of their forms of expression.

Run a risk, Improvisation, and Spontaneity

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

Learning Objectives

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

Key Takeaways

Key Points

• Dadaists are known for their "automatic writing" or stream of consciousness writing, which highlights the creativity of the unconscious mind.
• Surrealist works, much like Dadaist works, oft feature an chemical 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 operation events or situations that could have place anywhere, in whatsoever form , and relied heavily on chance, improvisation, and audition participation.

Key Terms

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

Chance, improvisation, and spontaneity are elements that can be used to create art, or they tin can be the very purpose of the artwork itself. Whatever medium tin use these elements at any bespeak inside the artistic procedure.

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

Dadaism

Dadaism was an art movement 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 move rejected logic and reason and instead prized irrationality, nonsense, and intuition. Marcel Duchamp was a ascendant fellow member of the Dadaist movement, known for exhibiting "prepare-mades," which were objects that were purchased or found and then declared fine 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 adventure, improvisation, and spontaneity to create fine art. They are known for using "automated writing" or stream of consciousness writing, which frequently took nonsensical forms, merely allowed for the opportunity of potentially surprising juxtapositions and unconscious creativity.

Surrealism

The Surrealist motility, 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 as follows:

"Surrealism, northward. Pure psychic automatism , by which one proposes to limited, either verbally, in writing, or by any other manner, the existent functioning of thought. Dictation of thought in the absence of all command exercised by reason, outside of all aesthetic and moral preoccupation. "

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

The Fluxus movement

The Fluxus movement of the 1960s was highly influenced by Dadaism. Fluxus was an international network of artists that skillfully blended together many different disciplines, and whose work was characterized by the use of an farthermost do-information technology-yourself (DIY) artful and heavily intermedia artworks. In add-on, Fluxus was known for its "happenings," which were multi-disciplinary performance events or situations that could have identify anywhere. Audition participation was essential in a happening, and therefore relied on a groovy deal of surprise and improvisation. Cardinal 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 audience an of import part of the art.

Inclusion of All Five Senses

The inclusion of the 5 human senses in a single piece of work takes place most often in installation and performance art.

Learning Objectives

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

Key Takeaways

Key Points

• In contemporary art, it is quite mutual for work to cater to the senses of sight, touch, and hearing, while it is somewhat less common to address smell and taste.
• "Gesamtkunstwerk," or "full work of fine art," is a German discussion that refers to an artwork that attempts to address all v man senses.
• Installation art is a genre of three-dimensional artwork that is designed to transform the viewer 's perception of a infinite .
• Virtual reality is a term that refers to computer-simulated environments.

Key Terms

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

The inclusion of the five human senses in a single work takes place most often in installation and operation-based art. In improver, works that strive to include all senses at once generally make use of some class of interactivity, as the gustation clearly must involve the participation of the viewer. Historically, this attention to all senses was reserved to ritual and ceremony . In contemporary art, it is quite common for piece of work to cater to the senses of sight, bear on, and hearing, while somewhat less mutual for art to accost the senses of olfactory property and gustation.

The German word "Gesamtkunstwerk," meaning "full work of fine art," refers to a genre of artwork that attempts to address all five human being senses. The concept was brought to prominence by the High german opera composer Richard Wagner in 1849. Wagner staged an opera that sought to unite the art forms, which he felt had get overly disparate. Wagner'due south operas paid great attention to every item in gild to attain a state of total artistic immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , but has evolved from Wagner's definition to mean the inclusion of the five senses in fine art.

Installation art is a genre of three-dimensional artwork that is designed to transform the viewer's perception of a space. Embankment by Rachel Whiteread exemplifies this blazon of transformation. The term generally pertains to an interior space, while Country Art typically refers to an outdoor infinite, though there is some overlap between these terms. The Fluxus motion of the 1960s is primal 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'due south perception of infinite.

"Virtual reality" is a term that refers to computer-false environments. Currently, most virtual reality environments are visual experiences, just some simulations include additional sensory information. Immersive virtual reality has developed in recent years with the improvement of engineering science and is increasingly addressing the v senses within a virtual realm. Artists accept been exploring the possibilities of these simulated and virtual realities with the expansion of the discipline of cyberarts, though what constitutes cyberart continues to be upwardly for fence. Environments such as the virtual world of Second Life are generally accustomed, but whether or not video games should exist considered art remains undecided.

Compositional Balance

Compositional remainder refers to the placement of the creative elements in relation to each other within a work of art.

Learning Objectives

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

Central Takeaways

Fundamental Points

• A harmonious compositional residuum involves arranging elements so that no one office 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 balanced, a composition appears stable and visually right. Just as symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" announced, the overall balance of a given composition contributes to outside judgments of the work.

Key Terms

• radial:Arranged like rays that radiate from, or converge to, a common middle.
• symmetry:Exact correspondence on either side of a dividing line, plane, eye, or centrality. The satisfying arrangement of a balanced distribution of the elements of a whole.
• asymmetry:Want of symmetry, or proportion betwixt the parts of a matter, peculiarly want of bilateral symmetry. Lacking a common measure out between two objects or quantities; Incommensurability. That which causes something to not exist symmetrical.

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

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

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

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

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

Asymmetry is defined equally the absenteeism of, or a violation of, the principles of symmetry. Examples of asymmetry appear commonly in architecture. Although pre-modern architectural styles tended to place an emphasis on symmetry (except where extreme site weather condition or historical developments lead abroad from this classical ideal), modern and postmodern architects oft used asymmetry as a design element. For case, while nigh bridges utilize a symmetrical class due to intrinsic simplicities of design, assay, fabrication, and economic 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 argument. .

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

Radial residuum refers to circular elements in compositions. In classical geometry, a radius of a circle or sphere is whatsoever line segment from its center to its perimeter. By extension, the radius of a circle or sphere is the length of whatever such segment, which is half the diameter. The radius may exist more one-half the bore, which is usually defined equally the maximum distance betwixt whatsoever ii points of the effigy. The inradius of a geometric effigy is ordinarily the radius of the largest circle or sphere independent in it. The inner radius of a ring, tube or other hollow object is the radius of its cavity. The name "radial" or "radius" comes from Latin radius, meaning "ray" but also the spoke of a round chariot bike.

Rhythm

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

Learning Objectives

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

Key Takeaways

Fundamental Points

• Rhythm may be more often than not divers as a "motility marked by the regulated succession of strong and weak elements, or of contrary or dissimilar conditions" (Anon. 1971).
• Rhythm may as well refer to visual presentation equally "timed movement through space " (Jirousek 1995), and a common language of pattern unites rhythm with geometry.
• For case, placing a ruby-red spiral at the bottom left and superlative correct, for example, will cause the heart to motion from one 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 active.

Key Terms

• symmetry:Exact 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.

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 piece of work of art. While there is some variation among them, movement, unity, harmony, variety, balance, rhythm, accent, contrast , proportion, and blueprint are normally sited as principles of fine art.

Rhythm (from Greek rhythmos, "any regular recurring motion, symmetry " (Liddell and Scott 1996)) may be generally defined equally a "movement marked by the regulated succession of strong and weak elements, or of opposite or dissimilar weather condition" (Anon. 1971). This general meaning of regular recurrence or pattern in fourth dimension 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 calibration, of musical sounds and silences, of the steps of a dance, or the meter of spoken linguistic communication and poetry. Rhythm may besides refer to visual presentation, equally "timed movement through infinite" (Jirousek 1995), and a common linguistic communication of design unites rhythm with geometry.

In a visual composition , blueprint and rhythm are generally expressed past showing consistency with colors or lines . For example, placing a ruby spiral at the bottom left and top right, for example, will crusade the eye to move from one spiral, to the other, and then to the space in betwixt. The repetition of elements creates movement of the viewer 's eye and can, therefore, make the artwork experience active. Hilma af Klint's Svanen (The Swan) exemplifies the visual representation of rhythm using color and symmetry.

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

Proportion and Scale

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

Learning Objectives

Use the concept of proportion to different works of art

Key Takeaways

Key Points

• Hierarchical proportion is a technique used in art, by and large in sculpture and painting, in which the artist uses unnatural proportion or calibration to depict the relative importance of the figures in the artwork.
• Mathematically, proportion is the relation between elements and a whole. In architecture, the whole is not only a building simply the set and setting of the site.
• Among the various aboriginal artistic traditions, the harmonic proportions, human proportions, cosmic orientations, various aspects of sacred geometry , and small whole-number ratios were all applied as part of the practice of architectural blueprint.

Key Terms

• gilded ratio:The irrational number (approximately 1·618), usually denoted by the Greek alphabetic character φ (phi), which is equal to the sum of its own reciprocal and ane, or, equivalently, is such that the ratio of i to the number is equal to the ratio of its reciprocal to 1. Some twentieth-century artists and architects have proportioned their works to approximate this—specially in the class of the gold 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 limerick . Hierarchical proportion is a technique used in fine art, mostly 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. In ancient Egyptian art, for example, gods and of import political figures appear much larger than common people. Beginning with the Renaissance , artists recognized the connection betwixt proportion and perspective , and the illusion of three-dimensional space . Images of the homo trunk 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 carrying the standards of various local gods. This piece demonstrates the aboriginal Egyptians' use of proportion, with Narmer appearing larger than the other figures depicted.

Mathematically, proportion is the relation between elements and a whole. In compages, the whole is non 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. Lite, shade, wind, elevation , and option of materials all relate to a standard of architectural proportion.

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

Amidst the diverse ancient creative traditions, the harmonic proportions, homo proportions, cosmic orientations, various aspects of sacred geometry, and pocket-sized whole-number ratios were all practical every bit part of the do 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 torso parts and their spans (fingers, palms, hands, and anxiety), but 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 delicate module—used for door and window trim, tile work, and roofing in Mesopotamia and Hellenic republic—was based on the proportions of the paw and the thumb.

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

Space

Space in fine art tin can be defined as the area that exists betwixt two identifiable points.

Learning Objectives

Define space in art and list means it is employed past artists

Fundamental Takeaways

Fundamental Points

• The organization of space is referred to as composition and is an essential component to any work of art.
• The space of an artwork includes the background, foreground, and middle ground , equally well every bit the altitude between, around, and inside things.
• At that place are two types of space: positive space and negative space.
• After spending hundreds of years developing linear perspective , Western artistic notions about the authentic delineation of infinite went through a radical shift at the kickoff of the 20th century.
• Cubism and subsequent modernist movements represented an important shift in the use of space within Western fine art, which is still existence felt today.

Key Terms

• space:The distance or empty area between things.
• Cubism:An creative movement in the early on 20th century characterized by the depiction of natural forms every bit geometric structures of planes.

The system of infinite in art is referred to equally composition, and is an essential component of whatsoever work of art. Infinite can be mostly defined as the area that exists between any ii identifiable points.

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

Over the ages, space has been conceived of in various ways. Artists have devoted a cracking 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 art. Visually, it is an illusionist phenomenon, well suited to realism and the depiction of reality equally information technology appears. After spending hundreds of years developing linear perspective, Western artistic conventions most the accurate depiction of space went through a radical shift at the get-go of the 20th century. The innovations of Cubism and subsequent modernist movements represented an important shift in the employ of space within Western art, the impact of which is nevertheless 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 use of abstruse shapes and irregular forms propose multiple points of view inside a single epitome.

2-Dimensional Infinite

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

Learning Objectives

Discuss 2-dimensional space in art and the physical properties on which it is based

Key Takeaways

Central Points

• In concrete terms, dimension refers to the constituent construction of all space and its position in time.
• Cartoon is a form of visual fine art that makes use of any number of instruments to mark a 2-dimensional medium .
• Almost whatever 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 class.

Key Terms

• dimension:A single aspect of a given affair. A mensurate of spatial extent in a particular direction, such equally summit, width or latitude, or depth.
• 2-Dimensional:Existing in 2 dimensions. Non creating the illusion of depth.
• Planar:Of or pertaining to a plane. Flat, two-dimensional.

2 dimensional, or bi-dimensional, space is a geometric model of the planar projection of the physical universe in which we alive. The two dimensions are commonly called length and width. Both directions prevarication on the same plane . In physics, our bi-dimensional infinite is viewed as a planar representation of the space in which nosotros movement.

Mathematical delineation of bi-dimensional space: Bi-dimensional Cartesian coordinate organization.

In art limerick , drawing is a grade of visual art that makes apply of any number of cartoon instruments to mark a two-dimensional medium (pregnant that the object does not accept depth). One of the simplest and nigh efficient ways 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 cartoon instruments makes drawing more than universal than most other media.

Measuring the dimensions of a subject while blocking in the drawing is an important footstep in producing a realistic rendition of a field of study. Tools such equally a compass can be used to mensurate the angles of different sides. These angles can exist reproduced on the drawing surface and then rechecked to make certain they are accurate. Another class of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement tin can be used to compare that dimension with other parts of the image. A ruler can exist used both as a straightedge and a device to compute proportions. When attempting to draw a complicated shape such as a homo figure, it is helpful at beginning to represent the form with a set of primitive shapes.

Nigh 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 class. The lines of the primitive shapes are removed and replaced past the final likeness. A more refined art of effigy drawing relies upon the creative person possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that practise not announced artificially stiff. The artist is also familiar with how the proportions vary depending on the historic period of the subject, peculiarly when cartoon a portrait.

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

Linear Perspective and 3-Dimensional Space

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

Learning Objectives

Explain perspective and its impact on art limerick

Cardinal Takeaways

Key Points

• Systematic attempts to evolve a system of perspective are usually considered to take begun around the 5th century B.C. in the fine art of Ancient Greece.
• The earliest art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer .
• In Medieval Europe, the use and composure of attempts to convey distance increased steadily merely without a basis in a systematic theory.
• Past the Renaissance , most 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.

Central Terms

• curvilinear:Having bends; curved; formed by curved lines.
• horizon line:A horizontal line in perspective drawing, directly reverse the viewer's 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 three-dimensional objects on a two-dimensional surface.

In art, perspective is an approximate representation on a apartment surface of an image as it is seen by the heart, calculated past bold a particular vanishing signal . Systematic attempts to evolve a system of perspective are usually considered to have begun around the 5th century BCE in the art of Ancient Greece. Past the afterwards periods of antiquity , artists—particularly those in less pop traditions—were well aware that distant objects could exist shown smaller than those close at mitt for increased illusionism. But whether this convention was really used in a work depended on many factors. Some of the paintings found in the ruins of Pompeii evidence a remarkable realism and perspective for their time.

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

The art of the Migration Menses had no tradition of attempting compositions of large numbers of figures, and Early on Medieval art was tedious and inconsistent in relearning the convention from classical models, though the procedure tin can be seen underway in Carolingian art. European Medieval artists were aware of the general principle of varying the relative size of elements according to distance, and use and composure of attempts to convey altitude increased steadily during the menstruation, but without a ground in a systematic theory.

By the Renaissance, nevertheless, nearly every creative person in Italy used geometrical perspective in their paintings. Non only was this use of perspective a way to portray depth, but it was as well 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 motion of academies of the arts, the Italian techniques became office of the preparation of artists beyond Europe and, later, other parts of the globe.

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

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

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

Iii-signal perspective is used for buildings depicted from above or beneath. In addition to the two vanishing points from earlier, i for each wall, there is now a third one for how those walls recede into the ground . This 3rd vanishing indicate would be below the basis.

Four-point perspective is the curvilinear variant of two-bespeak perspective. The resulting elongated frame can exist used both horizontally and vertically. Similar all other foreshortened variants of perspective, four-point perspective starts off with a horizon line, followed by four equally spaced vanishing points to delineate four vertical lines. Because vanishing points exist only when parallel lines are present in the scene, a perspective with no vanishing points ("zero-point") occurs if the viewer is observing a non-rectilinear scene. The almost mutual instance of a nonlinear scene is a natural scene (due east.thousand., a mountain range), which frequently does non contain whatever parallel lines. A perspective without vanishing points tin still create a sense of depth.

Distortions of Space and Foreshortening

Distortion is used to create various representations of infinite in ii-dimensional works of art.

Learning Objectives

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

Key Takeaways

Cardinal Points

• Perspective projection baloney is the inevitable misrepresentation of three-dimensional infinite when drawn or "projected" onto a two-dimensional surface. It is impossible to accurately depict 3-dimensional reality on a two-dimensional plane .
• However, at that place are several constructs available which let for seemingly accurate representation. Perspective projection can exist used to mirror how the centre sees past the use of one or more vanishing points .
• Although distortion can be irregular or follow many patterns, the most ordinarily encountered distortions in composition , especially in photography, are radially symmetric, or approximately so, arising from the symmetry of a photographic lens.

Key Terms

• radial:Arranged similar rays that radiate from, or converge into, a mutual centre
• projection:The image that a translucent object casts onto some other object.
• foreshortening:A technique for creating the advent 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 form of information or representation. Distortion tin be wanted or unwanted by the artist. Distortion is commonly unwanted when information technology concerns physical degradation of a work. Withal, it is more unremarkably referred to in terms of perspective, where information technology is employed to create realistic representations of space in two-dimensional works of art.

Perspective Projection Baloney

Perspective projection baloney is the inevitable misrepresentation of 3-dimensional space when drawn or "projected" onto a ii-dimensional surface. It is impossible to accurately depict three-dimensional reality on a two-dimensional plane. However, there are several constructs available that allow for seemingly authentic representation. The most common of these is perspective projection. Perspective projection can exist used to mirror how the centre sees by making apply of one or more than vanishing points.

Giotto, Lamentation (The Mourning of Christ), 1305–1306: Giotto is ane of the about 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 distance to appear shorter than it actually is because it is angled toward the viewer . Although foreshortening is an of import chemical element in art where visual perspective is existence depicted, foreshortening occurs in other types of 2-dimensional representations of three-dimensional scenes, such every bit oblique parallel project drawings.

The physiological footing of visual foreshortening was undefined until the year 1000 when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, first explained that calorie-free projects conically into the middle. A method for presenting foreshortened geometry systematically onto a plane surface was unknown for some other 300 years. The artist Giotto may have been the first to recognize that the epitome beheld by the center is distorted: to the eye, parallel lines appear to intersect (like the distant 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 baloney furnishings.

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 mechanism is low-cal reflected from an object. To execute a cartoon using perspective projection, projectors emanate from all points of an object and intersect at a station bespeak. These projectors intersect with an imaginary plane of projection and an image is created on the aeroplane by the points of intersection. The resulting paradigm on the projection plane reproduces the image of the object as information technology is beheld from the station point.

Radial baloney can unremarkably be classified as one of two primary types: butt distortion and pincushion distortion. Barrel baloney occurs when image magnification decreases with distance from the optical axis. The apparent result is that of an image which has been mapped around a sphere (or barrel). Fisheye lenses, which have hemispherical views, utilize this type of distortion every bit a way to map an infinitely broad object aeroplane into a finite epitome area.

On the other paw, in pincushion distortion, the image magnification increases with the distance from the optical axis. The visible effect is that lines that exercise not go through the middle of the prototype are bowed inwards, towards the center of the image, similar a pincushion. A certain amount of pincushion distortion is oftentimes found with visual optical instruments (i.east., binoculars), where information technology serves to eliminate the globe event.

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 straight horizontal lines on lens centrality level as straight. This is besides a common feature of wide-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is simply barrel baloney, merely only in the horizontal airplane. It is an antiquity of the squeezing process that anamorphic lenses do to fit widescreen images onto standard-width film.

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

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