Compare and Contrast the Use of Form in the Art Works Invthis Lesson

The elements of art are components or parts of a piece of work of art that tin be isolated and defined. They are the building blocks used to create a piece of work of art.

The list beneath describes each element of art. Learn about the principles of pattern here.

Download a student handout containing a list of the elements of art and their definitions. (PDF, 168KB)

Line

A line is an identifiable path created by a bespeak moving in space. It is one-dimensional and can vary in width, direction, and length. Lines often ascertain the edges of a grade. Lines can be horizontal, vertical, or diagonal, directly or curved, thick or sparse. They pb your middle around the composition and can communicate information through their grapheme and direction.

Horizontal lines suggest a feeling of rest or quiet because objects parallel to the earth are at rest. In this landscape, horizontal lines also help give a sense of space. The lines delineate sections of the landscape, which recede into space. They besides imply continuation of the landscape beyond the picture plane to the left and right.

Vertical lines often communicate a sense of height because they are perpendicular to the earth, extending upwards toward the heaven. In this church interior, vertical lines suggest spirituality, rising beyond homo accomplish toward the heavens.

Horizontal and vertical lines used in combination communicate stability and solidity. Rectilinear forms with 90-degree angles are structurally stable. This stability suggests permanence and reliability.

Diagonal lines convey a feeling of movement. Objects in a diagonal position are unstable. Considering they are neither vertical nor horizontal, they are either nigh to fall or are already in motion. The angles of the ship and the rocks on the shore convey a feeling of movement or speed in this stormy harbor scene.

The bend of a line can convey energy. Soft, shallow curves recall the curves of the human body and oft have a pleasing, sensual quality and a softening effect on the composition. The edge of the puddle in this photograph gently leads the eye to the sculptures on the horizon.

Shape and course

Shape and form define objects in space. Shapes take two dimensions–height and width–and are usually defined past lines. Forms be in three dimensions, with height, width, and depth.

Shape has merely elevation and width. Shape is usually, though not always, defined by line, which can provide its profile. In this image, rectangles and ovals dominate the composition. They describe the architectural details for an illusionist ceiling fresco.

Form has depth equally well every bit width and superlative. Three-dimensional form is the ground of sculpture, furniture, and decorative arts. Three-dimensional forms can be seen from more than ane side, such equally this sculpture of a rearing horse.

Geometric shapes and forms include mathematical, named shapes such as squares, rectangles, circles, cubes, spheres, and cones. Geometric shapes and forms are oftentimes homo-made. However, many natural forms also have geometric shapes. This chiffonier is decorated with designs of geometric shapes.

Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are often institute in nature, merely man-fabricated shapes can also imitate organic forms. This wreath uses organic forms to simulate leaves and berries.

Space

Existent space is iii-dimensional. Infinite in a work of fine art refers to a feeling of depth or three dimensions. It tin also refer to the creative person'due south utilize of the area within the picture aeroplane. The surface area around the principal objects in a piece of work of art is known equally negative space, while the space occupied by the principal objects is known every bit positive infinite.

Positive and negative space
The human relationship of positive to negative infinite tin greatly touch on the touch of a work of art. In this cartoon, the homo and his shadow occupy the positive space, while the white infinite surrounding him is the negative space. The disproportionate amount of negative infinite accentuates the figure's vulnerability and isolation.

Iii-dimensional space
The perfect illusion of three-dimensional space in a two-dimensional work of art is something that many artists, such every bit Pieter Saenredam, labored to reach. The illusion of infinite is achieved through perspective cartoon techniques and shading.

Color

Light reflected off objects. Color has iii primary characteristics: hue (scarlet, green, blue, etc.), value (how calorie-free or dark it is), and intensity (how vivid or dull information technology is). Colors tin exist described as warm (crimson, yellow) or cool (blueish, greyness), depending on which end of the colour spectrum they fall.

Value describes the brightness of color. Artists use colour value to create dissimilar moods. Nighttime colors in a composition propose a lack of light, as in a nighttime or interior scene. Dark colors can often convey a sense of mystery or foreboding.

Light colors often describe a light source or lite reflected inside the composition. In this painting, the dark colors suggest a night or interior scene. The creative person used light colors to describe the light created past the candle flame.

Intensity describes the purity or strength of a colour. Brilliant colors are undiluted and are often associated with positive energy and heightened emotions. Boring colors take been diluted by mixing with other colors and create a sedate or serious mood. In this paradigm the artist captured both the seriousness and the joy of the scene with the dull gray stone interior and the bright red drapery.

Texture

The surface quality of an object that we sense through impact. All objects take a concrete texture. Artists can also convey texture visually in two dimensions.

In a two-dimensional work of art, texture gives a visual sense of how an object depicted would feel in real life if touched: difficult, soft, rough, shine, hairy, leathery, sharp, etc. In three-dimensional works, artists use actual texture to add a tactile quality to the work.

Texture depicted in two-dimensions
Artists use color, line, and shading to imply textures. In this painting, the man's robe is painted to simulate silk. The power to convincingly portray fabric of different types was one of the marks of a keen painter during the 17th century.

Surface texture
The surface of this writing desk-bound is metallic and hard. The hard surface is functional for an object that would have been used for writing. The polish surface of the writing desk reflects light, adding sparkle to this piece of furniture.

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Source: https://www.getty.edu/education/teachers/building_lessons/formal_analysis.html

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