Which of the Processes in Art Would Allow the Most Spontaneity?

Line

A line is defined every bit a marker that connects the space betwixt ii points, taking whatsoever class along the way.

Learning Objectives

Compare and contrast different uses of line in fine art

Primal Takeaways

Key Points

• Actual lines are lines that are physically present, existing equally solid connections betwixt i or more than points.
• Unsaid line refers to the path that the viewer 's eye takes as it follows shapes, colors, and forms along any given path.
• Southtraight or classic lines provide stability and structure to a limerick and tin can be vertical, horizontal, or diagonal on a work's surface.
• Expressive lines refer to curved marks that increase the sense of dynamism of a work of art.
• The outline or contour lines create a 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.
• Hatch lines are a series of short lines repeated in intervals, typically in a unmarried direction, and are used to add together shading and texture to surfaces, while cross-hatch lines provide boosted texture and tone to the epitome surface and tin be oriented in whatever direction.

Key Terms

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

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

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

Actual lines are lines that are physically present, existing every bit solid connections betwixt one or more points, while implied lines refer to the path that the viewer'south eye takes as information technology follows shape, color, and class within an fine art work. Implied lines give works of fine art a sense of motility and keep the viewer engaged in a limerick. We can encounter numerous implied lines in Jacques-Louis David'south Oath of the Horatii, connecting the figures and deportment of the slice past leading the center 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 by leading the eye of the viewer through the unfolding drama.

Straight or archetype lines add stability and structure to a composition and tin can be vertical, horizontal, or diagonal on the surface of the work. Expressive lines refer to curved marks that increase the sense of dynamism of a work of 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 profile lines delineate differences in the features of a surface and can give the illusion of three dimensions or a sense of class or shading.

Hatch lines are a series of short lines repeated in intervals, typically in a unmarried management, and are used to add together shading and texture to surfaces. Cross-hatch lines provide boosted texture and tone to the paradigm surface and can exist oriented in whatsoever direction. Layers of cross-hatching can add rich texture and volume to prototype surfaces.

Calorie-free and Value

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

Learning Objectives

Explain the artistic use of light and night (also known as "value")

Key Takeaways

Key Points

• In painting, value changes are achieved by adding black or white to a color.
• Value in art is also sometimes referred to every bit " tint " for light hues and "shade" for night hues.
• Values near the lighter end of the spectrum are termed "loftier-keyed" while those on the darker stop are chosen "depression-keyed."
• In two-dimensional art works, the apply of value can assist to requite a shape the illusion of mass or volume .
• Chiaroscuro was a common technique in Baroque painting and refers to articulate tonal contrasts exemplified by very high-keyed whites, placed directly against very low-keyed darks.

Key Terms

• chiaroscuro:An artistic technique popularized during the Renaissance, referring to the use of exaggerated light contrasts in guild 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 (dark hues). In painting, which uses subtractive colour, value changes are accomplished past adding blackness or white to a colour. Artists may also apply shading, which refers to a more subtle manipulation of value. The value scale is used to show the standard variations in tones . Values virtually the lighter end of the spectrum are termed high-keyed, while those on the darker end are depression-keyed.

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

In two-dimensional artworks, the use of value tin help to give a shape the illusion of mass or book. Information technology will also requite the unabridged composition a sense of lighting. High contrast refers to the placing of lighter areas directly against much darker ones, so their deviation is showcased, creating a dramatic effect. Loftier contrast also refers to the presence of more blacks than white or grey. Low-dissimilarity images result from placing mid-range values together and so in that location 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 art. Chiaroscuro, which ways literally "lite-dark" in Italian, refers to clear tonal contrasts exemplified by very high-keyed whites, placed directly confronting very low-keyed darks. Candlelit scenes were common in Baroque painting as they effectively produced this dramatic type of outcome. Caravaggio used a high contrast palette in such works equally The Denial of St. Peter to create his expressive chiaroscuro scene.

Caravaggio, The Denial of St. Peter, 1610: Caravaggio's The Denial of St. Peter is an excellent example of how light tin can be manipulated in artwork.

Color

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

Learning Objectives

Limited the about important elements of color theory and artists' employ of colour

Central Takeaways

Key Points

• Colour theory first appeared in the 17th century, when Isaac Newton discovered that white low-cal could exist passed through a prism and divided into the full spectrum of colors.
• The spectrum of colors contained in white lite are ruby-red, orange, yellow, green, blue, indigo , and violet.
• Color theory divides color into the " main colors " of red, yellow, and blue, which cannot be mixed from other pigments, and the "secondary colors" of green, orange, and violet, which outcome from dissimilar combinations of the primary colors.
• Primary and secondary colors are combined in various mixtures to create third colors.
• Complementary colors are found opposite each other on the color wheel and correspond the strongest contrast for those particular two colors.

Fundamental Terms

• complementary color:A colour which is regarded as the opposite of another on the colour bike (i.e., red and green, xanthous and purple, and orange and blue).
• 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 iii colors which, when added to or subtracted from others in different amounts, can generate all other colors.
• tint:A colour considered with reference to other very similar colors. Red and blue are unlike colors, but two shades of ruby-red are different tints.
• gradation:A passing by small degrees from one tone or shade, as of color, to another.
• hue:A color, or shade of color.

Color is a fundamental artistic element which refers to the use of hue in art and blueprint. It is the most complex of the elements because of the wide array of combinations inherent to it. Color theory start appeared in the 17th century when Isaac Newton discovered that white lite could be passed through a prism and divided into the total spectrum of colors. The spectrum of colors contained in white light are, in society: red, orange, yellowish, greenish, blue, indigo and violet.

Color theory subdivides colour into the "primary colors" of cherry-red, yellow, and blue, which cannot be mixed from other pigments; and the "secondary colors" of green, orangish and violet, which result from different combinations of the master colors. Primary and secondary colors are combined in various mixtures to create "third colors." Color theory is centered around the colour bike, a diagram that shows the relationship of the diverse colors to each other .

Color wheel: The colour 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 colour. In add-on, "tint" and "shade" are of import aspects of color theory and result from lighter and darker variations in value, respectively. "Tone" refers to the gradation or subtle changes of a color on a lighter or darker scale. "Saturation" refers to the intensity of a color.

Condiment and Subtractive Color

Additive colour is color created past mixing red, green, and blueish lights. Telly screens, for case, use additive color as they are made up of the primary colors of blood-red, blue and light-green (RGB). Subtractive color,  or "process colour," works as the reverse of additive color and the primary colors go cyan, magenta, xanthous, and black (CMYK). Mutual applications of subtractive color can be found in printing and photography.

Complementary Color

Complementary colors can be found directly opposite each other on the color bicycle (purple and yellow, green and red, orange and blue). When placed adjacent to each other, these pairs create the strongest contrast for those particular ii colors.

Warm and Absurd Color

The stardom betwixt warm and cool colors has been important since at least the tardily 18th century. The contrast, as traced by etymologies in the Oxford English Dictionary, seems related to the observed contrast in landscape light, betwixt the "warm" colors associated with daylight or sunset and the "cool" colors associated with a gray or overcast mean solar day. Warm colors are the hues from cerise through yellowish, browns and tans included. Cool colors, on the other hand, are the hues from blue dark-green through blue violet, with most grays included. Colour theory has described perceptual and psychological effects to this contrast. Warm colors are said to advance or appear more active in a painting, while cool colors tend to recede. Used in interior blueprint or mode, warm colors are said to agitate or stimulate the viewer , while absurd colors calm and relax.

Texture

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

Learning Objectives

Recognize the use of texture in art

Fundamental Takeaways

Key Points

• Visual texture refers to an implied sense of texture that the creative person creates through the use of diverse artistic elements such equally line , shading, and colour.
• Actual texture refers to the physical rendering or the existent surface qualities we can notice past touching an object.
• Visible brushstrokes and different amounts of pigment volition create a physical texture that tin can add to the expressiveness of a painting and depict attention to specific areas inside it.
• Information technology is possible for an artwork to comprise numerous visual textures only even so remain smoothen to the touch on.

Key Terms

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

Texture

Texture in fine art stimulates the senses of sight and impact and refers to the tactile quality of the surface of the art. It is based on the perceived texture of the canvas or surface, which includes the application of the paint. In the context of artwork, there are 2 types of texture: visual and actual. Visual texture refers to an implied sense of texture that the artist creates through the employ of various creative elements such as line, shading and color. Actual texture refers to the physical rendering or the existent surface qualities we tin notice past touching an object, such as paint awarding or three-dimensional art.

It is possible for an artwork to contain numerous visual textures, yet nevertheless remain smooth to the touch. Accept for example Realist or Illusionist works, which rely on the heavy employ of paint and varnish, notwithstanding maintain an utterly shine surface. In Jan Van Eyck'southward painting "The Virgin of Chancellor Rolin" we can notice a great bargain of texture in the clothing and robes especially, while the surface of the work remains very smoothen .

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

Paintings often utilise actual texture as well, which nosotros can observe in the physical awarding of pigment. Visible brushstrokes and dissimilar amounts of paint will create a texture that adds to the expressiveness of a painting and describe attention to specific areas within it. The artist Vincent van Gogh is known to take used a bang-up deal of actual texture in his paintings, noticeable in the thick application of paint in such paintings every bit Starry Dark.

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

Shape and Volume

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

Learning Objectives

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

Fundamental Takeaways

Central Points

• "Positive space " refers to the space of the defined shape or effigy.
• "Negative infinite" refers to the infinite that exists around and between one or more than shapes.
• A " aeroplane " in fine art refers to any expanse within space.
• " Form " is a concept that is related to shape and tin can be created by combining ii or more shapes, resulting in a 3-dimensional shape.
• Art makes utilise of both bodily and implied volume .
• Shape, volume, and infinite, whether bodily or unsaid, are the footing of the perception of reality.

Fundamental Terms

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

Shape refers to an area in two-dimensional space that is defined past edges. Shapes are, by definition, e'er flat in nature and can exist geometric (e.g., a circle, square, or pyramid) or organic (e.g., a leaf or a chair). Shapes can be created by placing ii different textures , or shape-groups, next to each other, thereby creating an enclosed area, such as a painting of an object floating in water.

"Positive space" refers to the space of the defined shape, or effigy. Typically, the positive space is the subject area of an artwork. "Negative infinite" refers to the space that exists effectually and between i or more shapes. Positive and negative infinite can become difficult to distinguish from each other in more than abstract works.

A "plane" refers to any surface area within space. In two-dimensional art, the " picture plane " is the flat surface that the image is created upon, such as paper, canvas, or wood. Three-dimensional figures may be depicted on the flat picture airplane through the utilize of the artistic elements to imply depth and volume, equally seen in the painting Small Boutonniere of Flowers in a Ceramic Vase by Jan Brueghel the Elder.

January Brueghel the Elder, Small Boutonniere of Flowers in a Ceramic Vase, 1599: 3-dimensional figures may be depicted on the flat picture airplane through the use of the artistic elements to imply depth and volume.

"Grade" is a concept that is related to shape. Combining two or more shapes can create a three-dimensional shape. Class is always considered three-dimensional every bit information technology exhibits book—or height, width, and depth. Art makes use of both actual and implied volume.

While three-dimensional forms, such as sculpture, take volume inherently, volume can also be simulated, or unsaid, in a two-dimensional work such equally a painting. Shape, volume, and space—whether bodily or implied—are the basis of the perception of reality.

Time and Motion

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

Learning Objectives

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

Key Takeaways

Key Points

• Techniques such as calibration and proportion are used to create the feeling of movement or the passing of time in static a visual piece.
• The placement of a repeated element in dissimilar area within an artwork is another way to imply motion and the passing of time.
• Visual experiments in time and move were start produced in the mid-19th century, and the photographer Eadweard Muybridge is well-known for his sequential shots.
• The time-based mediums of film, 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 2nd. Abridgement: FPS.
• static:Fixed in place; having no motility.

Motility, or motility, is considered to exist one of the "principles of fine art"; that is, one of the tools artists use to organize the artistic elements in a work of fine art. Move is employed in both static and in time-based mediums and can testify a straight activity or the intended path for the viewer 's eye to follow through a slice.

Techniques such as scale and proportion are used to create the feeling of motion or the passing of time in static visual artwork. For example, on a flat picture plane , an image that is smaller and lighter colored than its surroundings will appear to be in the background. Some other technique for implying motion and/or time is the placement of a repeated chemical element in different areas within an artwork.

Visual experiments in time and motion 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 move from the upper left to lower correct corner of the piece.

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

While static art forms have the ability to imply or advise time and move, the fourth dimension-based mediums of picture, video, kinetic sculpture, and performance art demonstrate time and motion by their very definitions. Film is many static images that are chop-chop passed through a lens. Video is essentially the aforementioned process, only digitally-based and with fewer frames per second . Performance art takes place in existent time and makes use of existent 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 time and movement as a key aspect of their forms of expression.

Chance, Improvisation, and Spontaneity

Dadaism, Surrealism, and the Fluxus move all relied on the elements of take chances, improvisation, and spontaneity as tools for making art works.

Learning Objectives

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

Key Takeaways

Key Points

• Dadaists are known for their "automated writing" or stream of consciousness writing, which highlights the creativity of the unconscious mind.
• Surrealist works, much like Dadaist works, often feature an element of surprise, unexpected juxtaposition , and tapping into the unconscious listen.
• Surrealists are known for having invented " exquisite corpse" drawing.
• The Fluxus move was known for its " happenings ," which were functioning events or situations that could take place anywhere, in any grade , and relied heavily on risk, improvisation, and audition participation.

Central Terms

• happening:A spontaneous or improvised outcome, specially 1 that involves audience participation.
• assemblage:A drove of things which take been gathered together..

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

Marcel Duchamp, Urinal, 1917: Marcel Duchamp's Urinal is an instance of a "gear up-made," which were objects that were purchased or found and then alleged 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 potent anti-war and left-leaning sentiments. The motion rejected logic and reason and instead prized irrationality, nonsense, and intuition. Marcel Duchamp was a dominant member of the Dadaist motion, known for exhibiting "ready-mades," which were objects that were purchased or institute and then declared art.

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

Surrealism

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

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

Like Dadaism before it, the Surrealist motion 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 mind. Surrealists are known for having invented "exquisite corpse" drawing, an exercise where words and images are collaboratively assembled, one after another. Many Surrealist techniques, including exquisite corpse drawing, immune for the playful cosmos of art through assigning value to spontaneous production.

The Fluxus movement

The Fluxus movement of the 1960s was highly influenced past Dadaism. Fluxus was an international network of artists that skillfully blended together many different disciplines, and whose work was characterized by the use of an extreme exercise-it-yourself (DIY) aesthetic and heavily intermedia artworks. In addition, Fluxus was known for its "happenings," which were multi-disciplinary performance events or situations that could take identify anywhere. Audience participation was essential in a happening, and therefore relied on a peachy bargain of surprise and improvisation. Key elements of happenings were ofttimes planned, but artists left room for improvisation, which eliminated the boundary between the artwork and the viewer , thus making the audience an important part of the art.

Inclusion of All Five Senses

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

Learning Objectives

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

Key Takeaways

Key Points

• In gimmicky art, information technology is quite common for work to cater to the senses of sight, affect, and hearing, while it is somewhat less common to accost smell and sense of taste.
• "Gesamtkunstwerk," or "total work of art," is a German give-and-take that refers to an artwork that attempts to address all 5 human senses.
• Installation art is a genre of iii-dimensional artwork that is designed to transform the viewer 's perception of a space .
• Virtual reality is a term that refers to computer-simulated environments.

Primal Terms

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

The inclusion of the five human senses in a unmarried work takes place almost often in installation and performance-based fine art. In add-on, works that strive to include all senses at once mostly make employ of some class of interactivity, equally the sense of taste conspicuously must involve the participation of the viewer. Historically, this attention to all senses was reserved to ritual and ceremony . In gimmicky art, it is quite common for work to cater to the senses of sight, impact, and hearing, while somewhat less common for art to address the senses of smell and gustation.

The High german give-and-take "Gesamtkunstwerk," significant "total work of art," refers to a genre of artwork that attempts to address all five human senses. The concept was brought to prominence by the German opera composer Richard Wagner in 1849. Wagner staged an opera that sought to unite the art forms, which he felt had go overly disparate. Wagner's operas paid nifty attention to every item in order to attain a state of total creative immersion. "Gesamkunstwerk" is now an accustomed English term relating to aesthetics , merely has evolved from Wagner'south definition to mean the inclusion of the 5 senses in art.

Installation art is a genre of three-dimensional artwork that is designed to transform the viewer's perception of a space. Embankment 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 in that location is some overlap between these terms. The Fluxus movement of the 1960s is cardinal to the evolution of installation and performance fine art as mediums.

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

"Virtual reality" is a term that refers to computer-simulated environments. Currently, near virtual reality environments are visual experiences, but some simulations include additional sensory information. Immersive virtual reality has developed in recent years with the comeback of engineering science and is increasingly addressing the five senses within a virtual realm. Artists take 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 up for debate. Environments such as the virtual world of 2d Life are generally accepted, but whether or not video games should be considered fine art remains undecided.

Compositional Residual

Compositional residuum refers to the placement of the artistic elements in relation to each other within a work of fine art.

Learning Objectives

Categorize the elements of compositional balance in a work of art

Fundamental Takeaways

Primal Points

• A harmonious compositional balance involves arranging elements so that no one part of a work overpowers or seems heavier than any other part.
• The iii almost common types of compositional residuum 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.

Central Terms

• radial:Arranged like rays that radiate from, or converge to, a common eye.
• symmetry:Exact correspondence on either side of a dividing line, airplane, eye, or axis. The satisfying arrangement of a counterbalanced distribution of the elements of a whole.
• asymmetry:Want of symmetry, or proportion between the parts of a thing, especially want of bilateral symmetry. Lacking a common measure between two objects or quantities; Incommensurability. That which causes something to not be symmetrical.

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

Creating a harmonious compositional balance involves arranging elements and so that no single role of a work overpowers or seems heavier than whatever other part. The 3 most mutual types of compositional balance are symmetrical, asymmetrical, and radial.

Compositional residue: The three common types of residual 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 plane are the aforementioned in terms of the sense that is created by the organisation of the elements of fine art, the piece of work is said to exhibit this type of residue. The opposite of symmetry is asymmetry .

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

Asymmetry is divers every bit the absenteeism of, or a violation of, the principles of symmetry. Examples of asymmetry appear commonly in compages. Although pre-modern architectural styles tended to identify an emphasis on symmetry (except where farthermost site conditions or historical developments atomic number 82 away from this classical ideal), modern and postmodern architects often used disproportion as a design element. For instance, while most bridges employ a symmetrical form due to intrinsic simplicities of design, analysis, fabrication, and economical use of materials, a number of modern bridges accept deliberately departed from this, either in response to site-specific considerations or to create a dramatic design argument. .

Oakland Bay Bridge: Eastern bridge replacement of the San Francisco–Oakland Bay Bridge reflects asymmetrical architectural design.

Radial balance refers to round elements in compositions. In classical geometry, a radius of a circumvolve or sphere is whatever line segment from its heart 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 defined equally the maximum distance between whatever two points of the figure. The inradius of a geometric figure is unremarkably the radius of the largest circle or sphere contained in it. The inner radius of a ring, tube or other hollow object is the radius of its cavity. The proper 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 translate the utilize of rhythm in a work of art

Key Takeaways

Cardinal Points

• Rhythm may be more often than not defined every bit a "move marked by the regulated succession of stiff and weak elements, or of opposite or dissimilar atmospheric condition" (Anon. 1971).
• Rhythm may too refer to visual presentation as "timed motion through infinite " (Jirousek 1995), and a common language of pattern unites rhythm with geometry.
• For instance, placing a crimson spiral at the bottom left and pinnacle right, for example, will cause the eye to movement from 1 spiral, to the other, and everything in between. Information technology is indicating movement in the piece by the repetition of elements and, therefore, can make artwork seem active.

Primal Terms

• symmetry:Exact correspondence on either side of a dividing line, plane, center or axis. The satisfying arrangement 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 aid in creating an aesthetically pleasing or interesting piece of work of art. While there is some variation amongst them, move, unity, harmony, variety, residuum, rhythm, emphasis, contrast , proportion, and design are unremarkably sited as principles of art.

Rhythm (from Greek rhythmos, "any regular recurring motion, symmetry " (Liddell and Scott 1996)) may be more often than not defined every bit a "movement marked by the regulated succession of strong and weak elements, or of opposite or different weather" (Anon. 1971). This general pregnant of regular recurrence or pattern in time may be applied to a wide diversity of cyclical natural phenomena having a periodicity or frequency of annihilation from microseconds to millions of years. In the performing arts, rhythm is the timing of events on a human being scale, of musical sounds and silences, of the steps of a trip the light fantastic, or the meter of spoken language and poetry. Rhythm may also refer to visual presentation, as "timed motion through space" (Jirousek 1995), and a common language of design unites rhythm with geometry.

In a visual composition , blueprint and rhythm are generally expressed by showing consistency with colors or lines . For instance, placing a red spiral at the lesser left and summit right, for example, volition cause the center to movement from one spiral, to the other, and and so to the space in between. The repetition of elements creates movement of the viewer 's eye and can, therefore, make the artwork feel active. Hilma af Klint'south Svanen (The Swan) exemplifies the visual representation of rhythm using colour and symmetry.

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

Proportion and Calibration

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

Learning Objectives

Utilize the concept of proportion to unlike works of fine art

Key Takeaways

Key Points

• Hierarchical proportion is a technique used in fine 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.
• Mathematically, proportion is the relation betwixt elements and a whole. In architecture, the whole is not just a building but the set and setting of the site.
• Among the various aboriginal artistic traditions, the harmonic proportions, human being proportions, cosmic orientations, diverse aspects of sacred geometry , and small whole-number ratios were all applied as part of the do of architectural design.

Key Terms

• aureate ratio:The irrational number (approximately 1·618), ordinarily denoted by the Greek letter 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 approximate this—especially in the form of the golden 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 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 important political figures appear much larger than common people. Starting time with the Renaissance , artists recognized the connection between proportion and perspective , and the illusion of three-dimensional space . Images of the human body in exaggerated proportion were used to depict the reality an creative person interpreted.

Delineation of Narmer from the Narmer Palette: Narmer, a Predynastic ruler, accompanied by men conveying the standards of diverse local gods. This slice demonstrates the ancient Egyptians' use of proportion, with Narmer appearing larger than the other figures depicted.

Mathematically, proportion is the relation between elements and a whole. In architecture, the whole is not just a building only the set and setting of the site. The things that brand 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. Light, shade, wind, elevation , and choice of materials all relate to a standard of architectural proportion.

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

Among the diverse ancient creative traditions, the harmonic proportions, human proportions, cosmic orientations, various aspects of sacred geometry, and modest whole-number ratios were all applied equally part of the practice of architectural blueprint. For instance, the Greek classical architectural orders are all proportioned rather than dimensioned or measured modules, because the primeval modules were non based on trunk 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 diameter 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 frail module—used for door and window trim, tile work, and roofing in Mesopotamia and Greece—was based on the proportions of the mitt and the pollex.

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

Space

Infinite in art tin exist defined as the surface area that exists between two identifiable points.

Learning Objectives

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

Key Takeaways

Key Points

• The organization of infinite is referred to as composition and is an essential component to any work of art.
• The space of an artwork includes the groundwork, foreground, and middle ground , besides as the distance betwixt, around, and within things.
• At that place are 2 types of space: positive space and negative infinite.
• Afterward spending hundreds of years developing linear perspective , Western artistic notions near the authentic depiction of space went through a radical shift at the beginning of the 20th century.
• Cubism and subsequent modernist movements represented an important shift in the use of infinite inside Western art, which is yet existence felt today.

Key Terms

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

The organisation of space in fine art is referred to as limerick, and is an essential component of any piece of work of art. Space can exist mostly divers as the expanse that exists between any 2 identifiable points.

Space is conceived of differently in each medium . The space in a painting, for instance, includes the background, foreground and middle ground, while three-dimensional space, similar sculpture or installation , volition involve the distance between, effectually, and within points of the work. Infinite is farther categorized every bit positive or negative. "Positive infinite" tin be defined every bit the subject of an artwork, while "negative infinite" can be defined 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 organization has been a highly employed convention in Western art. Visually, information technology is an illusionist miracle, well suited to realism and the delineation of reality as it appears. Later spending hundreds of years developing linear perspective, Western artistic 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 important shift in the apply of infinite within Western art, the touch on of which is withal 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 abstract shapes and irregular forms suggest multiple points of view within a single image.

Two-Dimensional Infinite

Ii-dimensional, or bi-dimensional, infinite is a geometric model of the planar projection of the concrete universe in which we live.

Learning Objectives

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

Key Takeaways

Cardinal Points

• In physical terms, dimension refers to the constituent construction of all space and its position in time.
• Drawing is a form of visual fine art that makes use of any number of instruments to marker a two-dimensional medium .
• Almost any dimensional form tin can be represented past 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.

Primal Terms

• dimension:A single aspect of a given thing. A measure of spatial extent in a particular direction, such as height, width or breadth, or depth.
• Two-Dimensional:Existing in two dimensions. Not creating the illusion of depth.
• Planar:Of or pertaining to a plane. Flat, two-dimensional.

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

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

In art composition , drawing is a form of visual art that makes use of whatsoever number of drawing instruments to marking a ii-dimensional medium (meaning that the object does not have depth). One of the simplest and about efficient means of communicating visual ideas, the medium has been a popular and cardinal means of public expression throughout human history. Additionally, the relative availability of basic drawing instruments makes drawing more universal than nigh other media.

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

Almost any dimensional form can be represented by some combination of the cube, sphere, cylinder, and cone. In one case these basic shapes have been assembled into a likeness, and so the drawing can be refined into a more authentic and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. A more refined art of figure cartoon relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained creative person is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during motility. This allows the artist to return more than natural poses that do not announced artificially stiff. The artist is besides familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.

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

Linear Perspective and Three-Dimensional Space

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

Learning Objectives

Explain perspective and its impact on art limerick

Key Takeaways

Cardinal 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 Hellenic republic.
• 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 apply and sophistication of attempts to convey distance increased steadily just without a ground in a systematic theory.
• Past the Renaissance , about every creative person in Italy used geometrical perspective in their paintings, both to portray depth and also as a new and "of the moment" compositional method.

Cardinal Terms

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

In art, perspective is an approximate representation on a flat surface of an paradigm equally it is seen by the eye, calculated by assuming a particular vanishing indicate . Systematic attempts to evolve a organisation of perspective are usually considered to have begun around the 5th century BCE in the fine art of Ancient Greece. By the subsequently periods of antiquity , artists—peculiarly those in less popular traditions—were well enlightened that afar objects could exist shown smaller than those close at manus for increased illusionism. But whether this convention was actually used in a work depended on many factors. Some of the paintings institute in the ruins of Pompeii evidence a remarkable realism and perspective for their time.

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. The most of import figures are often shown as the highest in a composition , also from hieratic motives, leading to the "vertical perspective" common in the art of Aboriginal Arab republic of egypt , where a grouping of "nearer" figures are shown below the larger figure(s).

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

By the Renaissance, however, nearly every artist in Italy used geometrical perspective in their paintings. Not only was this utilize of perspective a way to portray depth, merely it was also a new method of composing a painting. Paintings began to prove 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 part of the preparation of artists across Europe and, afterward, other parts of the world.

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

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

Two-bespeak perspective tin be used to draw the same objects as 1-signal perspective, just rotated—such as looking at the corner of a business firm, or looking at two forked roads shrink into the altitude. In looking at a house from the corner, for case, one wall would recede towards one vanishing point and the other wall would recede towards the opposite vanishing signal.

3-betoken perspective is used for buildings depicted from above or below. In addition to the 2 vanishing points from before, one for each wall, there is now a 3rd one for how those walls recede into the ground . This tertiary vanishing indicate would exist below the basis.

4-bespeak perspective is the curvilinear variant of two-indicate perspective. The resulting elongated frame tin can be used both horizontally and vertically. Like all other foreshortened variants of perspective, four-point perspective starts off with a horizon line, followed past four equally spaced vanishing points to delineate four vertical lines. Considering vanishing points exist just when parallel lines are present in the scene, a perspective with no vanishing points ("goose egg-point") occurs if the viewer is observing a non-rectilinear scene. The well-nigh mutual instance of a nonlinear scene is a natural scene (eastward.g., a mountain range), which often does not contain any parallel lines. A perspective without vanishing points can still create a sense of depth.

Distortions of Space and Foreshortening

Distortion is used to create diverse representations of infinite in two-dimensional works of fine art.

Learning Objectives

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

Fundamental Takeaways

Cardinal Points

• Perspective projection distortion is the inevitable misrepresentation of iii-dimensional space when drawn or "projected" onto a ii-dimensional surface. Information technology is impossible to accurately describe three-dimensional reality on a two-dimensional plane .
• However, there are several constructs bachelor which allow for seemingly accurate representation. Perspective projection can be used to mirror how the heart sees past the use of one or more than vanishing points .
• Although distortion can be irregular or follow many patterns, the nigh commonly encountered distortions in composition , especially in photography, are radially symmetric, or approximately and so, arising from the symmetry of a photographic lens.

Primal Terms

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

A distortion is the alteration of the original shape (or other characteristic) of an object, image, audio, or other form of data or representation. Distortion can be wanted or unwanted by the artist. Distortion is normally unwanted when it concerns physical degradation of a work. Nevertheless, information technology is more than ordinarily referred to in terms of perspective, where it is employed to create realistic representations of space in 2-dimensional works of fine art.

Perspective Project Distortion

Perspective projection distortion is the inevitable misrepresentation of 3-dimensional space when drawn or "projected" onto a ii-dimensional surface. Information technology is impossible to accurately depict iii-dimensional reality on a 2-dimensional plane. Withal, there are several constructs available that allow for seemingly accurate representation. The nearly common of these is perspective project. Perspective projection can exist used to mirror how the eye sees past making utilise of one or more vanishing points.

Giotto, Lamentation (The Mourning of Christ), 1305–1306: Giotto is i of the nearly 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 announced shorter than it actually is because information technology is angled toward the viewer . Although foreshortening is an of import element in art where visual perspective is being depicted, foreshortening occurs in other types of ii-dimensional representations of three-dimensional scenes, such as oblique parallel projection drawings.

The physiological basis of visual foreshortening was undefined until the twelvemonth 1000 when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, kickoff explained that light projects conically into the eye. A method for presenting foreshortened geometry systematically onto a plane surface was unknown for some other 300 years. The artist Giotto may take been the first to recognize that the paradigm beheld by the eye is distorted: to the middle, parallel lines appear to intersect (like the distant edges of a path or road), whereas in "undistorted" nature, they exercise non. In many of Giotto'due south paintings, perspective is employed to achieve diverse distortion effects.

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

Distortion in Photography

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

Radial distortion can ordinarily be classified every bit one of two main types: butt distortion and pincushion baloney. Butt distortion occurs when image magnification decreases with distance from the optical axis. The credible outcome is that of an epitome which has been mapped around a sphere (or barrel). Fisheye lenses, which take hemispherical views, use this type of baloney as a way to map an infinitely broad object airplane into a finite epitome area.

On the other hand, in pincushion distortion, the image magnification increases with the distance from the optical axis. The visible event is that lines that practice not get through the center of the image are bowed inwards, towards the center of the image, like a pincushion. A certain corporeality of pincushion baloney is often constitute with visual optical instruments (i.eastward., binoculars), where it serves to eliminate the globe effect.

Cylindrical perspective is a form of baloney acquired by fisheye and panoramic lenses, which reproduce directly horizontal lines above and beneath the lens axis level as curved, while reproducing directly horizontal lines on lens axis level equally directly. This is also a mutual feature of wide-bending anamorphic lenses of less than 40mm focal length in cinematography. Substantially it is simply butt baloney, but merely in the horizontal plane. It is an artifact of the squeezing process that anamorphic lenses do to fit widescreen images onto standard-width flick.

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

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