Which of the Following Is Not Considered a Visual Element of Art?

Line

A line is defined equally a mark that connects the infinite betwixt two points, taking any form forth the way.

Learning Objectives

Compare and contrast different uses of line in art

Key Takeaways

Key Points

• Bodily lines are lines that are physically present, existing as solid connections between one or more points.
• Implied line refers to the path that the viewer 'due south eye takes as it follows shapes, colors, and forms along any given path.
• Southwardtraight or classic lines provide stability and structure to a composition and can be vertical, horizontal, or diagonal on a work's surface.
• Expressive lines refer to curved marks that increment 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 information technology. "Cross profile lines" delineate differences in the features of a surface.
• 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, while cross-hatch lines provide additional texture and tone to the image surface and tin can be oriented in whatsoever direction.

Key Terms

• texture:The experience or shape of a surface or substance; the smoothness, roughness, softness, etc. of something.
• cross-hatching:A method of showing shading by means of multiple small lines that intersect.
• line:A path through 2 or more points.

The line is an essential element of art, divers equally a mark that connects the space between two points, taking whatever form along the mode. Lines are used most ofttimes to define shape in two-dimensional works and could exist called the most ancient, besides every bit the most universal, forms of mark making.

At that place are many different types of lines, all characterized past their lengths being greater than their width, as well as past the paths that they take. Depending on how they are used, lines help to decide the motion, direction, and energy of a work of fine art. The quality of a line refers to the character that is presented by a line in lodge to breathing 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'due south eye takes as information technology follows shape, color, and form within an art work. Implied lines requite works of art a sense of motion and go on 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 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 eye of the viewer through the unfolding drama.

Straight or classic lines add stability and structure to a composition and tin exist vertical, horizontal, or diagonal on the surface of the piece of 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. Cross contour lines delineate differences in the features of a surface and can requite the illusion of iii dimensions or a sense of form or shading.

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. Cross-hatch lines provide additional texture and tone to the image surface and can exist oriented in whatsoever direction. Layers of cross-hatching tin add rich texture and book to image surfaces.

Calorie-free and Value

Value refers to the utilize of lite and dark in fine art.

Learning Objectives

Explain the artistic use of calorie-free and dark (also known as "value")

Fundamental Takeaways

Key Points

• In painting, value changes are accomplished by calculation blackness or white to a color.
• Value in art is also sometimes referred to every bit " tint " for calorie-free hues and "shade" for dark hues.
• Values well-nigh the lighter end of the spectrum are termed "high-keyed" while those on the darker end are chosen "low-keyed."
• In two-dimensional art works, the employ of value can help to give a shape the illusion of mass or book .
• Chiaroscuro was a common technique in Baroque painting and refers to clear tonal contrasts exemplified past very high-keyed whites, placed directly confronting very low-keyed darks.

Key Terms

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

The use of light and dark in art is called value. Value can be subdivided into tint (light hues) and shade (nighttime hues). In painting, which uses subtractive colour, value changes are accomplished by adding black or white to a color. Artists may besides employ shading, which refers to a more subtle manipulation of value. The value calibration is used to show the standard variations in tones . Values well-nigh the lighter cease of the spectrum are termed loftier-keyed, while those on the darker finish are low-keyed.

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

In two-dimensional artworks, the apply of value can aid to give a shape the illusion of mass or volume. Information technology volition also give the entire composition a sense of lighting. High contrast refers to the placing of lighter areas directly against much darker ones, so their divergence is showcased, creating a dramatic effect. High dissimilarity also refers to the presence of more blacks than white or grayness. Low-contrast images effect from placing mid-range values together so at that place 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 effects in fine art. Chiaroscuro, which means literally "calorie-free-night" in Italian, refers to clear tonal contrasts exemplified by very high-keyed whites, placed directly against very depression-keyed darks. Candlelit scenes were mutual in Baroque painting as they effectively produced this dramatic blazon of effect. Caravaggio used a loftier contrast palette in such works every bit 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 first-class example of how light can exist manipulated in artwork.

Color

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

Learning Objectives

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

Fundamental Takeaways

Key Points

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

Key Terms

• complementary colour:A colour which is regarded equally the opposite of some other on the color cycle (i.eastward., red and light-green, yellow and majestic, and orange and blue).
• value:The relative darkness or lightness of a color in a specific 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 like colors. Ruddy and blue are dissimilar colors, but two shades of scarlet are dissimilar tints.
• gradation:A passing past small degrees from ane tone or shade, every bit of color, to another.
• hue:A color, or shade of color.

Color is a key creative element which refers to the use of hue in art and design. It is the almost complex of the elements considering of the wide array of combinations inherent to it. Color theory first appeared in the 17th century when Isaac Newton discovered that white light could be passed through a prism and divided into the total spectrum of colors. The spectrum of colors contained in white light are, in order: blood-red, orange, yellow, dark-green, blueish, indigo and violet.

Colour theory subdivides colour into the "main colors" of cherry, xanthous, and blue, which cannot exist mixed from other pigments; and the "secondary colors" of green, orange and violet, which result from dissimilar combinations of the primary colors. Primary 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 .

Colour cycle: The color wheel is a diagram that shows the relationship of the various colors to each other.

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

Condiment and Subtractive Color

Additive color is color created by mixing cherry-red, greenish, and blue lights. Television screens, for case, use additive color as they are made up of the primary colors of red, blue and green (RGB). Subtractive color,  or "process color," works as the contrary of additive color and the primary colors get cyan, magenta, yellow, and black (CMYK). Common applications of subtractive color tin be found in printing and photography.

Complementary Color

Complementary colors can be found direct opposite each other on the colour bike (purple and xanthous, green and reddish, orange and bluish). When placed next to each other, these pairs create the strongest contrast for those particular two colors.

Warm and Absurd Color

The distinction between warm and cool colors has been important since at least the late 18th century. The contrast, as traced by etymologies in the Oxford English Dictionary, seems related to the observed dissimilarity in landscape light, 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 red through xanthous, browns and tans included. Absurd colors, on the other hand, are the hues from blue greenish through blue violet, with near grays included. Color theory has described perceptual and psychological furnishings to this contrast. Warm colors are said to accelerate or appear more active in a painting, while cool colors tend to recede. Used in interior design or style, warm colors are said to arouse or stimulate the viewer , while cool colors calm and relax.

Texture

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

Learning Objectives

Recognize the use of texture in fine art

Key Takeaways

Primal Points

• Visual texture refers to an implied sense of texture that the artist creates through the employ of diverse artistic elements such every bit line , shading, and color.
• Actual texture refers to the physical rendering or the real surface qualities we can detect past touching an object.
• Visible brushstrokes and different amounts of paint will create a physical texture that can add to the expressiveness of a painting and depict attending to specific areas within information technology.
• It is possible for an artwork to contain numerous visual textures but still remain shine to the bear upon.

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 pigment. In the context of artwork, in that location 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 diverse creative elements such every bit line, shading and colour. Actual texture refers to the concrete rendering or the real surface qualities we can notice by touching an object, such equally paint awarding or three-dimensional art.

It is possible for an artwork to comprise numerous visual textures, yet still remain smooth to the affect. Take for example Realist or Illusionist works, which rely on the heavy use of paint and varnish, yet maintain an utterly smoothen surface. In Jan Van Eyck's painting "The Virgin of Chancellor Rolin" nosotros tin can detect a great deal of texture in the clothing 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 groovy deal of texture in the clothing and robes, but the actual surface of the piece of work is very smooth.

Paintings often use actual texture likewise, which we can detect in the physical application of paint. Visible brushstrokes and different amounts of paint will create a texture that adds to the expressiveness of a painting and draw attention to specific areas within it. The artist Vincent van Gogh is known to take used a peachy deal of actual texture in his paintings, noticeable in the thick application of pigment in such paintings equally Starry Dark.

Vincent van Gogh, The Starry Night, 1889: The Starry Night contains a neat bargain of bodily texture through the thick application of pigment.

Shape and Book

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

Learning Objectives

Ascertain shape and volume and identify ways they are represented in fine art

Key Takeaways

Central Points

• "Positive infinite " refers to the infinite of the divers shape or figure.
• "Negative space" refers to the space that exists around and betwixt one or more than shapes.
• A " aeroplane " in art refers to any surface expanse within infinite.
• " Grade " is a concept that is related to shape and can be created by combining two or more shapes, resulting in a iii-dimensional shape.
• Art makes use of both actual and implied volume .
• Shape, book, and space, whether actual or implied, are the basis of the perception of reality.

Key Terms

• course:The shape or visible structure of an artistic expression.
• volume:A unit of 3-dimensional measure of space that comprises a length, a width, and a height.
• plane:A flat surface extending infinitely in all directions (e.g., horizontal or vertical airplane).

Shape refers to an area in two-dimensional space that is defined by edges. Shapes are, by definition, always flat in nature and can be geometric (e.g., a circle, foursquare, or pyramid) or organic (e.yard., a leaf or a chair). Shapes can exist created by placing two 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 infinite of the defined shape, or figure. Typically, the positive space is the subject of an artwork. "Negative space" refers to the infinite that exists effectually and between one or more shapes. Positive and negative infinite tin can get difficult to distinguish from each other in more abstract works.

A "plane" refers to whatever surface area within space. In 2-dimensional fine art, the " motion picture plane " is the flat surface that the image is created upon, such as newspaper, sheet, or wood. 3-dimensional figures may exist depicted on the flat picture aeroplane through the use of the artistic elements to imply depth and volume, as seen in the painting Small Boutonniere of Flowers in a Ceramic Vase by Jan Brueghel the Elderberry.

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

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

While three-dimensional forms, such as sculpture, have volume inherently, book tin too be false, or implied, in a 2-dimensional piece of work such as a painting. Shape, volume, and space—whether actual or implied—are the footing of the perception of reality.

Time and Motion

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

Learning Objectives

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

Key Takeaways

Fundamental Points

• Techniques such as scale and proportion are used to create the feeling of motion or the passing of fourth dimension in static a visual 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 movement 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 moving-picture show, video, kinetic sculpture , and performance art utilise time and motion by their very definitions.

Key Terms

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

Motion, or movement, is considered to be 1 of the "principles of art"; that is, one of the tools artists use to organize the artistic elements in a piece of work of art. Motion is employed in both static and in fourth dimension-based mediums and can bear witness a direct action or the intended path for the viewer 's center to follow through a piece.

Techniques such every bit scale and proportion are used to create the feeling of motion or the passing of fourth dimension in static visual artwork. For instance, on a flat picture plane , an image that is smaller and lighter colored than its environment will appear to be in the background. Another technique for implying movement and/or time is the placement of a repeated chemical element in unlike areas inside an artwork.

Visual experiments in fourth dimension and motion were first 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 move of his subjects. Marcel Duchamp's Nude Descending a Staircase, No. ii exemplifies an accented feeling of motion from the upper left to lower right corner of the piece.

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

While static art forms have the ability to imply or suggest time and motility, the time-based mediums of moving-picture show, video, kinetic sculpture, and performance art demonstrate time and motion past their very definitions. Movie is many static images that are quickly passed through a lens. Video is essentially the same process, only digitally-based and with fewer frames per second . Performance fine art takes place in existent time and makes use of real people and objects, much like theater. Kinetic fine art is art that moves, or depends on movement, for its effect. All of these mediums utilize fourth dimension and movement equally a central 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 as tools for making fine art works.

Learning Objectives

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

Key Takeaways

Key Points

• Dadaists are known for their "automated writing" or stream of consciousness writing, which highlights the inventiveness of the unconscious mind.
• Surrealist works, much similar Dadaist works, often feature an element of surprise, unexpected juxtaposition , and borer into the unconscious mind.
• Surrealists are known for having invented " exquisite corpse" drawing.
• The Fluxus motion was known for its " happenings ," which were performance events or situations that could take place anywhere, in whatsoever course , and relied heavily on adventure, improvisation, and audience participation.

Central Terms

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

Chance, improvisation, and spontaneity are elements that can be used to create fine art, or they can be the very purpose of the artwork itself. Whatever medium can employ these elements at any point inside the creative process.

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

Dadaism

Dadaism was an art movement pop in Europe in the early 20th century. It was started by artists and poets in Zurich, Switzerland with strong anti-war and left-leaning sentiments. The movement rejected logic and reason and instead prized irrationality, nonsense, and intuition. Marcel Duchamp was a dominant fellow member of the Dadaist movement, known for exhibiting "fix-mades," which were objects that were purchased or found and then 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 hazard, improvisation, and spontaneity to create fine art. They are known for using "automatic writing" or stream of consciousness writing, which often took nonsensical forms, but allowed for the opportunity of potentially surprising juxtapositions and unconscious inventiveness.

Surrealism

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

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

Like Dadaism earlier it, the Surrealist movement stressed the unimportance of reason and planning and instead relied heavily upon adventure and surprise as a tool to harness the creativity of the unconscious mind. Surrealists are known for having invented "exquisite corpse" drawing, an do where words and images are collaboratively assembled, one after some other. Many Surrealist techniques, including exquisite corpse drawing, immune for the playful creation of fine 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 employ of an farthermost practise-it-yourself (DIY) aesthetic and heavily intermedia artworks. In add-on, Fluxus was known for its "happenings," which were multi-disciplinary operation events or situations that could take identify anywhere. Audience participation was essential in a happening, and therefore relied on a great deal of surprise and improvisation. Key elements of happenings were oft planned, just artists left room for improvisation, which eliminated the purlieus between the artwork and the viewer , thus making the audience an important function of the fine art.

Inclusion of All Five Senses

The inclusion of the five human senses in a single piece of work takes identify most oft 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 common for piece of work to cater to the senses of sight, touch, and hearing, while it is somewhat less common to accost smell and taste.
• "Gesamtkunstwerk," or "full work of art," is a German word that refers to an artwork that attempts to address all v human senses.
• Installation art is a genre of three-dimensional artwork that is designed to transform the viewer 's perception of a space .
• Virtual reality is a term that refers to computer-false environments.

Central Terms

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

The inclusion of the five human senses in a single work takes place about often in installation and performance-based art. In addition, works that strive to include all senses at once more often than not make use of some form of interactivity, as the sense of sense of taste clearly must involve the participation of the viewer. Historically, this attention to all senses was reserved to ritual and ceremony . In contemporary art, information technology is quite common for piece of work to cater to the senses of sight, affect, and hearing, while somewhat less common for art to address the senses of aroma and gustation.

The German word "Gesamtkunstwerk," pregnant "total work of art," refers to a genre of artwork that attempts to accost all five human senses. The concept was brought to prominence past 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 corking attention to every detail in order to reach a state of full artistic immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , but has evolved from Wagner'southward 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'southward perception of a space. Beach past Rachel Whiteread exemplifies this type of transformation. The term more often than not pertains to an interior space, while Land Fine art typically refers to an outdoor space, though there is some overlap between these terms. The Fluxus move of the 1960s is key to the development of installation and functioning art as mediums.

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

"Virtual reality" is a term that refers to estimator-simulated environments. Currently, most virtual reality environments are visual experiences, just some simulations include additional sensory information. Immersive virtual reality has adult in contempo years with the comeback of technology and is increasingly addressing the 5 senses inside a virtual realm. Artists have been exploring the possibilities of these simulated and virtual realities with the expansion of the bailiwick of cyberarts, though what constitutes cyberart continues to be upward for debate. Environments such as the virtual world of 2nd Life are mostly accepted, but whether or non video games should exist considered fine art remains undecided.

Compositional Rest

Compositional residual refers to the placement of the artistic 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

Fundamental Takeaways

Key Points

• A harmonious compositional residue involves arranging elements and then that no one function of a piece of work overpowers or seems heavier than whatsoever other role.
• The three most common types of compositional rest 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" appear, the overall balance of a given composition contributes to outside judgments of the work.

Key Terms

• radial:Arranged similar rays that radiate from, or converge to, a common center.
• symmetry:Verbal correspondence on either side of a dividing line, plane, heart, or axis. The satisfying arrangement of a balanced distribution of the elements of a whole.
• asymmetry:Desire of symmetry, or proportion between the parts of a thing, especially want of bilateral symmetry. Lacking a common measure betwixt two objects or quantities; Incommensurability. That which causes something to non be symmetrical.

Compositional residuum 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 composition appears more stable and visually pleasing. Only equally symmetry relates to artful preference and reflects an intuitive sense for how things "should" announced, the overall rest of a given composition contributes to outside judgments of the work.

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

Compositional balance: The three common 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 centrality of the picture plane are the same in terms of the sense that is created past the organisation of the elements of art, the work is said to exhibit this type of rest. The opposite of symmetry is asymmetry .

Leonardo da Vinci, Vitruvian Man, 1487: Leonardo da Vinci's Vitruvian Man is often used every bit a representation of symmetry in the man body and, past extension, the natural universe.

Asymmetry is defined equally the absence of, or a violation of, the principles of symmetry. Examples of asymmetry announced commonly in architecture. Although pre-modern architectural styles tended to place an accent on symmetry (except where extreme site weather or historical developments lead away from this classical platonic), modernistic and postmodern architects often used asymmetry equally a blueprint element. For instance, while well-nigh bridges employ a symmetrical form due to intrinsic simplicities of design, analysis, fabrication, and economical use of materials, a number of modern bridges have deliberately departed from this, either in response to site-specific considerations or to create a dramatic design argument. .

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

Radial residual refers to circular elements in compositions. In classical geometry, a radius of a circumvolve or sphere is any line segment from its center to its perimeter. By extension, the radius of a circle or sphere is the length of any such segment, which is half the diameter. The radius may be more than half the diameter, which is usually divers as the maximum distance betwixt any two points of the figure. The inradius of a geometric figure 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 likewise the spoke of a circular chariot wheel.

Rhythm

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

Learning Objectives

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

Key Takeaways

Key Points

• Rhythm may be generally defined as a "move marked by the regulated succession of potent and weak elements, or of contrary or different conditions" (Betimes. 1971).
• Rhythm may also refer to visual presentation as "timed movement through space " (Jirousek 1995), and a mutual language of pattern unites rhythm with geometry.
• For instance, placing a red spiral at the bottom left and top correct, for example, will cause the eye to motion from one spiral, to the other, and everything in between. It is indicating motion 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, centre or axis. The satisfying organisation of a balanced distribution of the elements of a whole.

The principles of visual art are the rules, tools, and guidelines that artists use to organize the elements of in a piece of artwork. When the principles and elements are successfully combined, they assist in creating an aesthetically pleasing or interesting work of art. While in that location is some variation among them, motion, unity, harmony, variety, balance, rhythm, emphasis, contrast , proportion, and pattern are ordinarily sited as principles of art.

Rhythm (from Greek rhythmos, "any regular recurring motion, symmetry " (Liddell and Scott 1996)) may be generally defined as a "movement marked by the regulated succession of potent and weak elements, or of contrary or different atmospheric condition" (Anon. 1971). This general meaning of regular recurrence or pattern in time may be practical to a wide 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 scale, of musical sounds and silences, of the steps of a trip the light fantastic toe, or the meter of spoken language and poetry. Rhythm may also refer to visual presentation, as "timed movement through space" (Jirousek 1995), and a common linguistic communication of pattern unites rhythm with geometry.

In a visual composition , pattern and rhythm are generally expressed by showing consistency with colors or lines . For instance, placing a red spiral at the bottom left and pinnacle correct, for example, volition cause the eye to move from one spiral, to the other, and and then to the space in between. The repetition of elements creates movement of the viewer 's heart and tin can, therefore, make the artwork feel 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: Colour and symmetry piece of work together in this painting to guide the middle 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

Cardinal Takeaways

Fundamental Points

• Hierarchical proportion is a technique used in art, more often than not 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 architecture, the whole is non but a building simply the prepare and setting of the site.
• Among the various ancient artistic traditions, the harmonic proportions, human proportions, cosmic orientations, various aspects of sacred geometry , and minor whole-number ratios were all practical equally part of the practice of architectural design.

Primal Terms

• gold ratio:The irrational number (approximately 1·618), normally denoted by the Greek alphabetic character φ (phi), which is equal to the sum of its own reciprocal and 1, or, equivalently, is such that the ratio of 1 to the number is equal to the ratio of its reciprocal to 1. Some twentieth-century artists and architects have proportioned their works to 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 fine art, for instance, gods and important political figures appear much larger than common people. Beginning with the Renaissance , artists recognized the connection between proportion and perspective , and the illusion of three-dimensional infinite . Images of the man body in exaggerated proportion were used to draw 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' apply of proportion, with Narmer appearing larger than the other figures depicted.

Mathematically, proportion is the relation betwixt elements and a whole. In architecture, the whole is non just a building merely the set and setting of the site. The things that make a edifice and its site "well shaped" include everything from the orientation of the site and the buildings on it, to the features of the grounds on which it is situated. Calorie-free, shade, wind, tiptop , and option of materials all relate to a standard of architectural proportion.

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

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

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

Typically, 1 set of column bore modules used for casework and architectural moldings past 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 covering in Mesopotamia and Hellenic republic—was based on the proportions of the hand and the thumb.

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

Space

Space in art can be defined as the expanse that exists between two identifiable points.

Learning Objectives

Define space in art and listing ways it is employed past artists

Key Takeaways

Primal Points

• The arrangement of infinite is referred to equally composition and is an essential component to any work of art.
• The space of an artwork includes the background, foreground, and centre footing , besides every bit the distance betwixt, around, and within things.
• In that location are two types of infinite: positive space and negative space.
• After spending hundreds of years developing linear perspective , Western artistic notions well-nigh the authentic depiction of space went through a radical shift at the first of the 20th century.
• Cubism and subsequent modernist movements represented an important shift in the employ of space within Western fine art, which is yet existence felt today.

Central Terms

• space:The distance or empty surface area between things.
• Cubism:An artistic move in the early on 20th century characterized by the depiction of natural forms equally geometric structures of planes.

The organisation of infinite in fine art is referred to as composition, and is an essential component of whatsoever work of art. Space can be generally divers as the expanse that exists betwixt whatever two identifiable points.

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

Over the ages, space has been conceived of in diverse ways. Artists have devoted a great deal of fourth dimension to experimenting with perspectives and degrees of flatness of the pictorial plane .

The perspective system has been a highly employed convention in Western fine 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 creative conventions about the accurate depiction of infinite went through a radical shift at the commencement of the 20th century. The innovations of Cubism and subsequent modernist movements represented an of import shift in the use of space within Western art, the impact of which is all the same existence felt.

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

Two-Dimensional Space

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

Learning Objectives

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

Central Takeaways

Key Points

• In physical terms, dimension refers to the constituent structure of all space and its position in time.
• Cartoon is a form of visual fine art that makes use of whatever number of instruments to marker a two-dimensional medium .
• Almost whatsoever dimensional grade can be represented by some combination of the cube, sphere, cylinder, and cone. One time these basic shapes accept been assembled into a likeness, and then the drawing tin exist refined into a more accurate and polished course.

Key Terms

• dimension:A single aspect of a given affair. A measure of spatial extent in a particular management, such every bit height, width or breadth, or depth.
• Two-Dimensional:Existing in two dimensions. Non creating the illusion of depth.
• Planar:Of or pertaining to a aeroplane. Apartment, ii-dimensional.

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

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

In art composition , drawing is a course of visual art that makes utilize of whatever number of drawing instruments to marking a ii-dimensional medium (meaning that the object does not have depth). One of the simplest and most efficient ways of communicating visual ideas, the medium has been a popular and central means of public expression throughout human being history. Additionally, the relative availability of bones drawing instruments makes drawing more universal than almost other media.

Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of a subject. Tools such every bit a compass tin exist used to measure out the angles of different sides. These angles tin exist reproduced on the drawing surface and then rechecked to make sure they are authentic. 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 cartoon implement 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 depict a complicated shape such as a human being figure, it is helpful at first to stand for the form with a set of primitive shapes.

Almost any dimensional form tin be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes take been assembled into a likeness, then the drawing tin can be refined into a more than authentic and polished form. The lines of the primitive shapes are removed and replaced by the terminal likeness. A more than refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, musculus placement, tendon movement, and how the unlike parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is besides familiar with how the proportions vary depending on the age of the field of study, particularly when drawing a portrait.

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

Linear Perspective and 3-Dimensional Infinite

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

Learning Objectives

Explain perspective and its touch on art composition

Key Takeaways

Primal Points

• Systematic attempts to evolve a organization of perspective are usually considered to have begun effectually the fifth century B.C. in the fine art of Ancient Greece.
• The primeval art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer .
• In Medieval Europe, the use and sophistication of attempts to convey altitude increased steadily only without a basis in a systematic theory.
• Past the Renaissance , virtually every artist in Italia used geometrical perspective in their paintings, both to portray depth and also as a new and "of the moment" compositional method.

Key Terms

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

In fine art, perspective is an approximate representation on a flat surface of an image every bit information technology is seen by the eye, calculated by assuming a particular vanishing point . Systematic attempts to evolve a system of perspective are usually considered to have begun effectually the 5th century BCE in the art of Ancient Greece. By the later periods of antiquity , artists—especially those in less popular traditions—were well aware that distant objects could be shown smaller than those close at hand for increased illusionism. Just 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 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 equally the highest in a composition , as well from hieratic motives, leading to the "vertical perspective" mutual in the art of Aboriginal Egypt , where a grouping of "nearer" figures are shown below the larger figure(s).

The art of the Migration Menstruation had no tradition of attempting compositions of large numbers of figures, and Early Medieval fine art was slow and inconsistent in relearning the convention from classical models, though the process can exist 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 apply and sophistication of attempts to convey distance increased steadily during the period, only without a footing in a systematic theory.

By the Renaissance, however, nearly every artist in Italy used geometrical perspective in their paintings. Not only was this use of perspective a way to portray depth, just information technology was also 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 movement of academies of the arts, the Italian techniques became function of the training of artists across Europe and, later, other parts of the globe.

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

A drawing has one-bespeak perspective when information technology contains just one vanishing point on the horizon line . This blazon of perspective is typically used for images of roads, railway tracks, hallways, or buildings viewed so that the front end is straight facing the viewer. Any objects that are fabricated up of lines either directly parallel with the viewer's line of sight or directly perpendicular (the railroad slats) can be represented with one-point perspective. These parallel lines converge at the vanishing signal.

Two-point perspective can exist used to draw the aforementioned objects as one-point perspective, but rotated—such as looking at the corner of a house, or looking at two forked roads compress into the distance. In looking at a house from the corner, for example, 1 wall would recede towards i vanishing point and the other wall would recede towards the opposite vanishing point.

Iii-point perspective is used for buildings depicted from above or below. In addition to the two vanishing points from before, one for each wall, at that place is at present a tertiary 1 for how those walls recede into the ground . This 3rd vanishing indicate would exist beneath the ground.

Iv-point perspective is the curvilinear variant of two-signal perspective. The resulting elongated frame tin be used both horizontally and vertically. Similar all other foreshortened variants of perspective, four-point perspective starts off with a horizon line, followed by four as spaced vanishing points to delineate four vertical lines. Because vanishing points exist but when parallel lines are present in the scene, a perspective with no vanishing points ("aught-point") occurs if the viewer is observing a not-rectilinear scene. The near common example of a nonlinear scene is a natural scene (e.one thousand., a mount range), which oftentimes does not contain any parallel lines. A perspective without vanishing points can still create a sense of depth.

Distortions of Space and Foreshortening

Baloney 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 project baloney is the inevitable misrepresentation of three-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 .
• Even so, there are several constructs bachelor which allow for seemingly authentic representation. Perspective projection can be used to mirror how the heart sees by the use of one or more than vanishing points .
• Although distortion can be irregular or follow many patterns, the virtually commonly encountered distortions in composition , especially in photography, are radially symmetric, or approximately and so, arising from the symmetry of a photographic lens.

Cardinal Terms

• radial:Arranged similar rays that radiate from, or converge into, a common eye
• projection:The paradigm that a translucent object casts onto some other object.
• foreshortening:A technique for creating the appearance that the object of a cartoon is extending into space by shortening the lines with which that object is drawn.

A baloney is the amending of the original shape (or other characteristic) of an object, image, audio, or other grade of information or representation. Distortion can be wanted or unwanted by the artist. Distortion is normally unwanted when it concerns concrete degradation of a work. However, it is more than unremarkably referred to in terms of perspective, where it is employed to create realistic representations of space in two-dimensional works of fine art.

Perspective Project Baloney

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 three-dimensional reality on a 2-dimensional plane. Even so, in that location are several constructs available that allow for seemingly authentic representation. The near common of these is perspective project. Perspective project can exist used to mirror how the eye sees past making utilize of one or more vanishing points.

Giotto, Lamentation (The Mourning of Christ), 1305–1306: Giotto is one of the virtually notable pre-Renaissance artists to recognize distortion on 2-dimensional planes.

Foreshortening

Foreshortening is the visual outcome or optical illusion that causes an object or distance to announced shorter than it really is considering information technology is angled toward the viewer . Although foreshortening is an of import chemical element in fine art where visual perspective is being depicted, foreshortening occurs in other types of two-dimensional representations of 3-dimensional scenes, such as oblique parallel projection drawings.

The physiological basis of visual foreshortening was undefined until the year 1000 when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, showtime explained that light projects conically into the eye. A method for presenting foreshortened geometry systematically onto a plane surface was unknown for another 300 years. The artist Giotto may have been the first to recognize that the image beheld by the eye is distorted: to the eye, parallel lines announced to intersect (like the distant edges of a path or road), whereas in "undistorted" nature, they practice not. In many of Giotto's paintings, perspective is employed to reach various 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 mechanism is lite reflected from an object. To execute a cartoon using perspective projection, projectors emanate from all points of an object and intersect at a station indicate. 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 epitome of the object as information technology is beheld from the station point.

Radial baloney can commonly exist classified as one of two main types: barrel baloney and pincushion distortion. Barrel baloney occurs when epitome magnification decreases with distance from the optical axis. The apparent effect is that of an image which has been mapped around a sphere (or butt). Fisheye lenses, which take hemispherical views, utilize this type of baloney as a mode to map an infinitely broad object airplane into a finite image expanse.

On the other manus, in pincushion baloney, the prototype magnification increases with the distance from the optical axis. The visible effect is that lines that practise not go through the center of the epitome are bowed inwards, towards the center of the image, like a pincushion. A sure amount of pincushion distortion is ofttimes institute with visual optical instruments (i.e., binoculars), where information technology serves to eliminate the globe effect.

Cylindrical perspective is a form of distortion acquired by fisheye and panoramic lenses, which reproduce straight horizontal lines to a higher place and beneath the lens centrality level as curved, while reproducing straight horizontal lines on lens axis level as straight. This is also a common feature of broad-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is simply butt distortion, but simply in the horizontal plane. It is an artifact 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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