Is an Art Movement That Reduced Art to the Bare Essentials

Line

A line is divers equally a mark that connects the space between 2 points, taking whatever grade along the fashion.

Learning Objectives

Compare and contrast different uses of line in art

Fundamental Takeaways

Central Points

• Actual lines are lines that are physically present, existing as solid connections betwixt i or more points.
• Implied line refers to the path that the viewer 's eye takes equally it follows shapes, colors, and forms along any given path.
• Straight or classic lines provide stability and structure to a composition and can be vertical, horizontal, or diagonal on a piece of work's surface.
• Expressive lines refer to curved marks that increase the sense of dynamism of a work of art.
• The outline or profile lines create a border or path around the edge of a shape, thereby outlining and defining it. "Cross contour lines" delineate differences in the features of a surface.
• Hatch lines are a series of brusk 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 can exist oriented in whatsoever direction.

Key Terms

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

The line is an essential chemical element of art, defined as a mark that connects the space between two points, taking any course along the style. Lines are used nigh often to define shape in two-dimensional works and could be called the nearly ancient, as well as the most universal, forms of marking making.

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

Actual lines are lines that are physically nowadays, existing as solid connections betwixt one or more points, while implied lines refer to the path that the viewer's eye takes as it follows shape, color, and grade within an fine art work. Implied lines requite works of art a sense of motion and keep the viewer engaged in a composition. We can run across numerous implied lines in Jacques-Louis David's Oath of the Horatii, connecting the figures and deportment of the piece by leading the eye of the viewer through the unfolding drama.

Jacques-Louis David, Oath of the Horatii, 1784: Many unsaid lines connect the figures and activeness of the slice by leading the center of the viewer through the unfolding drama.

Straight or classic lines add stability and structure to a composition and can be vertical, horizontal, or diagonal on the surface of the piece of work. Expressive lines refer to curved marks that increase the sense of dynamism of a 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 contour 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 shading and texture to surfaces. Cross-hatch lines provide boosted texture and tone to the image surface and can be oriented in any direction. Layers of cantankerous-hatching can add rich texture and volume to image surfaces.

Light and Value

Value refers to the employ of light and dark in fine art.

Learning Objectives

Explicate the creative use of light and dark (also known as "value")

Key Takeaways

Fundamental Points

• In painting, value changes are achieved by adding black or white to a color.
• Value in art is likewise sometimes referred to every bit " tint " for calorie-free hues and "shade" for dark hues.
• Values near the lighter stop of the spectrum are termed "loftier-keyed" while those on the darker end are called "low-keyed."
• In two-dimensional art works, the use of value can assistance to requite a shape the illusion of mass or volume .
• Chiaroscuro was a common technique in Baroque painting and refers to clear tonal contrasts exemplified by very high-keyed whites, placed straight confronting very low-keyed darks.

Cardinal Terms

• chiaroscuro:An artistic technique popularized during the Renaissance, referring to the utilise of exaggerated low-cal contrasts in club to create the illusion of volume.

The use of light and dark in art is chosen value. Value can be subdivided into tint (low-cal hues) and shade (dark hues). In painting, which uses subtractive colour, value changes are achieved by calculation black or white to a color. Artists may also utilise shading, which refers to a more than subtle manipulation of value. The value scale is used to bear witness the standard variations in tones . Values well-nigh 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 light used in artwork.

In 2-dimensional artworks, the employ of value can aid to give a shape the illusion of mass or volume. Information technology will also give the unabridged composition a sense of lighting. Loftier contrast refers to the placing of lighter areas directly against much darker ones, and then their difference is showcased, creating a dramatic effect. High contrast besides refers to the presence of more blacks than white or gray. Low-dissimilarity images result from placing mid-range values together so there is non much visible difference between them, creating a more than subtle mood.

In Baroque painting, the technique of chiaroscuro was used to produce highly dramatic effects in art. Chiaroscuro, which means literally "calorie-free-night" in Italian, refers to clear tonal contrasts exemplified by very high-keyed whites, placed straight against very low-keyed darks. Candlelit scenes were common in Bizarre painting as they effectively produced this dramatic type of issue. Caravaggio used a high dissimilarity palette in such works every bit The Deprival of St. Peter to create his expressive chiaroscuro scene.

Caravaggio, The Deprival of St. Peter, 1610: Caravaggio'south The Denial of St. Peter is an splendid instance of how light can exist manipulated in artwork.

Color

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

Learning Objectives

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

Key Takeaways

Key Points

• Colour theory kickoff 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 independent in white light are red, orange, yellow, green, blue, indigo , and violet.
• Color theory divides color into the " primary colors " of red, yellow, and blue, which cannot be mixed from other pigments, and the "secondary colors" of green, orangish, and violet, which consequence from dissimilar combinations of the primary colors.
• Primary and secondary colors are combined in diverse mixtures to create tertiary colors.
• Complementary colors are found contrary each other on the color wheel and correspond the strongest contrast for those particular two colors.

Key Terms

• complementary colour:A color which is regarded as the opposite of another on the color bicycle (i.e., red and green, yellow and regal, and orange and blue).
• value:The relative darkness or lightness of a colour in a specific 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, tin can generate all other colors.
• tint:A color considered with reference to other very similar colors. Reddish and blue are different colors, merely two shades of carmine are unlike tints.
• gradation:A passing by small degrees from i tone or shade, as of color, to some other.
• hue:A colour, or shade of color.

Color is a fundamental creative element which refers to the use of hue in art and pattern. It is the most complex of the elements because of the wide array of combinations inherent to it. Colour theory beginning appeared in the 17th century when Isaac Newton discovered that white calorie-free could exist passed through a prism and divided into the total spectrum of colors. The spectrum of colors contained in white light are, in order: red, orange, yellow, green, blue, indigo and violet.

Color theory subdivides colour into the "chief colors" of carmine, yellow, and bluish, which cannot be mixed from other pigments; and the "secondary colors" of green, orangish and violet, which result from different combinations of the primary colors. Primary and secondary colors are combined in various mixtures to create "tertiary colors." Colour theory is centered around the color bicycle, a diagram that shows the relationship of the various colors to each other .

Color 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 colour. In addition, "tint" and "shade" are of import aspects of colour theory and consequence 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 colour.

Additive and Subtractive Color

Additive color is color created by mixing carmine, green, and blue lights. Television screens, for instance, use additive color as they are made up of the primary colors of blood-red, blueish and green (RGB). Subtractive color,  or "procedure colour," works equally the contrary of additive color and the principal colors go cyan, magenta, yellow, and black (CMYK). Common applications of subtractive colour tin be found in printing and photography.

Complementary Color

Complementary colors tin be found straight opposite each other on the color wheel (purple and xanthous, green and red, orangish and blue). When placed adjacent to each other, these pairs create the strongest contrast for those item 2 colors.

Warm and Absurd Color

The distinction betwixt 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, 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 red through yellowish, browns and tans included. Cool colors, on the other hand, are the hues from blue green through blueish violet, with most grays included. Color theory has described perceptual and psychological furnishings to this contrast. Warm colors are said to advance or appear more than agile in a painting, while cool colors tend to recede. Used in interior pattern or fashion, 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 art object.

Learning Objectives

Recognize the use of texture in art

Key Takeaways

Key Points

• Visual texture refers to an implied sense of texture that the artist creates through the employ of diverse creative elements such every bit line , shading, and color.
• Actual texture refers to the physical rendering or the existent surface qualities nosotros can observe by touching an object.
• Visible brushstrokes and dissimilar amounts of paint volition create a physical texture that can add to the expressiveness of a painting and draw attention to specific areas inside it.
• Information technology is possible for an artwork to incorporate numerous visual textures but still remain smooth to the touch.

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 canvass or surface, which includes the awarding of the paint. 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 artistic elements such every bit line, shading and color. Actual texture refers to the physical rendering or the real surface qualities nosotros can notice past touching an object, such equally paint application or three-dimensional fine art.

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

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

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

Vincent van Gogh, The Starry Night, 1889: The Starry Dark contains a corking bargain of actual texture through the thick awarding of pigment.

Shape and Volume

Shape refers to an area in a ii-dimensional space 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

Key Takeaways

Key Points

• "Positive space " refers to the infinite of the defined shape or figure.
• "Negative space" refers to the infinite that exists effectually and between ane or more shapes.
• A " aeroplane " in art refers to any surface expanse within space.
• " Class " is a concept that is related to shape and tin exist created by combining ii or more than shapes, resulting in a iii-dimensional shape.
• Art makes employ of both actual and implied volume .
• Shape, book, and space, whether actual or unsaid, are the ground of the perception of reality.

Central Terms

• form:The shape or visible structure of an artistic expression.
• book:A unit of measurement of 3-dimensional measure of space that comprises a length, a width, and a tiptop.
• aeroplane:A flat surface extending infinitely in all directions (e.m., horizontal or vertical plane).

Shape refers to an area in two-dimensional infinite that is defined past edges. Shapes are, by definition, e'er flat in nature and can be geometric (east.g., a circle, square, or pyramid) or organic (east.g., a foliage or a chair). Shapes can be created by placing two unlike textures , or shape-groups, adjacent to each other, thereby creating an enclosed area, such as a painting of an object floating in h2o.

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

A "plane" refers to any area within space. In two-dimensional fine art, the " picture plane " is the flat surface that the image is created upon, such as paper, canvas, or forest. Three-dimensional figures may be depicted on the flat picture plane through the apply of the artistic elements to imply depth and volume, as seen in the painting Pocket-sized Bouquet of Flowers in a Ceramic Vase by January Brueghel the Elderberry.

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

"Class" is a concept that is related to shape. Combining 2 or more shapes can create a three-dimensional shape. Grade is always considered three-dimensional every bit it exhibits book—or height, width, and depth. Art makes use of both actual and unsaid volume.

While three-dimensional forms, such as sculpture, have volume inherently, volume can also exist faux, or implied, in a two-dimensional work such every bit a painting. Shape, book, and infinite—whether actual or implied—are the basis of the perception of reality.

Fourth dimension and Motion

Motility, 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 time-based mediums.

Learning Objectives

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

Key Takeaways

Central Points

• Techniques such as scale and proportion are used to create the feeling of motion or the passing of time in static a visual piece.
• The placement of a repeated element in different expanse within an artwork is another fashion to imply movement and the passing of time.
• Visual experiments in time and motion were kickoff 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 movement by their very definitions.

Key Terms

• frames per second:The number of times an imaging device produces unique consecutive images (frames) in one 2d. Abridgement: FPS.
• static:Fixed in place; having no move.

Motility, or move, is considered to be 1 of the "principles of art"; that is, one of the tools artists utilise to organize the artistic elements in a piece of work of art. Motion is employed in both static and in time-based mediums and can show a direct action or the intended path for the viewer 'south 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 apartment picture show airplane , an epitome that is smaller and lighter colored than its environment will appear to exist in the groundwork. Another technique for implying move and/or time is the placement of a repeated chemical element in unlike areas inside an artwork.

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

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

While static art forms have the ability to imply or suggest time and motion, the time-based mediums of film, video, kinetic sculpture, and functioning art demonstrate fourth dimension and motion by their very definitions. Picture is many static images that are apace passed through a lens. Video is essentially the same process, merely digitally-based and with fewer frames per second . Operation fine art takes place in real fourth dimension and makes utilize of real people and objects, much like theater. Kinetic fine art is art that moves, or depends on move, for its effect. All of these mediums utilize time and movement equally a key aspect of their forms of expression.

Chance, Improvisation, and Spontaneity

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

Learning Objectives

Describe how Dadaism, Surrealism, and the Fluxus movement relied on chance, improvisation, and spontaneity

Key Takeaways

Key Points

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

Primal Terms

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

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

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

Dadaism

Dadaism was an fine art move popular 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 "ready-mades," which were objects that were purchased or found and and so declared art.

Dadaists used what was readily bachelor to create what was termed an "aggregation," using items such as photographs, trash, stickers, bus passes, and notes. The work of the Dadaists involved take chances, improvisation, and spontaneity to create fine art. They are known for using "automated writing" or stream of consciousness writing, which often took nonsensical forms, merely allowed for the opportunity of potentially surprising juxtapositions and unconscious creativity.

Surrealism

The Surrealist movement, which adult out of Dadaism primarily as a political motion, 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 as follows:

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

Like Dadaism before it, the Surrealist motility stressed the unimportance of reason and planning and instead relied heavily upon chance and surprise equally a tool to harness the creativity of the unconscious listen. 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, allowed for the playful cosmos of fine art through assigning value to spontaneous product.

The Fluxus move

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 past the use of an extreme practise-it-yourself (DIY) aesthetic and heavily intermedia artworks. In improver, Fluxus was known for its "happenings," which were multi-disciplinary performance events or situations that could have identify anywhere. Audition participation was essential in a happening, and therefore relied on a great bargain of surprise and improvisation. Key elements of happenings were often planned, merely artists left room for improvisation, which eliminated the purlieus between the artwork and the viewer , thus making the audience an important office of the art.

Inclusion of All V Senses

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

Learning Objectives

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

Cardinal Takeaways

Primal Points

• In contemporary fine art, it is quite common for work to cater to the senses of sight, touch, and hearing, while it is somewhat less common to address odour and gustation.
• "Gesamtkunstwerk," or "total work of art," is a German language give-and-take that refers to an artwork that attempts to address all five human senses.
• Installation art is a genre of three-dimensional artwork that is designed to transform the viewer 'southward perception of a space .
• Virtual reality is a term that refers to computer-simulated environments.

Key Terms

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

The inclusion of the five human senses in a unmarried piece of work takes place nigh frequently in installation and operation-based art. In addition, works that strive to include all senses at one time generally make use of some form of interactivity, as the 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 work to cater to the senses of sight, bear on, and hearing, while somewhat less common for art to address the senses of odour and taste.

The German language word "Gesamtkunstwerk," significant "total work of art," refers to a genre of artwork that attempts to address all five human being senses. The concept was brought to prominence by the German opera composer Richard Wagner in 1849. Wagner staged an opera that sought to unite the art forms, which he felt had become overly disparate. Wagner's operas paid bang-up attending to every item in order to achieve a state of total creative immersion. "Gesamkunstwerk" is now an accepted English term relating to aesthetics , but has evolved from Wagner's definition to hateful the inclusion of the five senses in art.

Installation art is a genre of three-dimensional artwork that is designed to transform the viewer's perception of a space. Embankment by Rachel Whiteread exemplifies this type of transformation. The term mostly pertains to an interior space, while Land Art typically refers to an outdoor space, though there is some overlap between these terms. The Fluxus movement of the 1960s is key to the evolution of installation and performance art as mediums.

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

"Virtual reality" is a term that refers to computer-imitation environments. Currently, most virtual reality environments are visual experiences, simply some simulations include boosted sensory data. Immersive virtual reality has adult in recent years with the improvement of technology and is increasingly addressing the five senses within a virtual realm. Artists have been exploring the possibilities of these simulated and virtual realities with the expansion of the field of study of cyberarts, though what constitutes cyberart continues to be up for debate. Environments such as the virtual world of Second Life are mostly accepted, but whether or not video games should be considered art remains undecided.

Compositional Residue

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

Cardinal Takeaways

Key Points

• A harmonious compositional residual involves arranging elements so that no one role of a work overpowers or seems heavier than any other part.
• The three about common types of compositional balance are symmetrical, asymmetrical, and radial .
• When balanced, a composition appears stable and visually right. Just as symmetry relates to aesthetic preference and reflects an intuitive sense for how things "should" appear, the overall residue of a given limerick contributes to outside judgments of the piece of work.

Cardinal Terms

• radial:Arranged like rays that radiate from, or converge to, a common middle.
• symmetry:Exact correspondence on either side of a dividing line, plane, heart, or axis. The satisfying arrangement of a balanced distribution of the elements of a whole.
• disproportion:Desire of symmetry, or proportion betwixt the parts of a affair, particularly want of bilateral symmetry. Lacking a mutual measure between two objects or quantities; Incommensurability. That which causes something to not be symmetrical.

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

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

Compositional residue: 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 axis of the moving-picture show plane are the same in terms of the sense that is created by the system of the elements of art, the piece of work is said to exhibit this blazon of balance. The opposite of symmetry is disproportion .

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

Asymmetry is defined equally the absence of, or a violation of, the principles of symmetry. Examples of disproportion announced commonly in architecture. Although pre-modern architectural styles tended to place an emphasis on symmetry (except where farthermost site conditions or historical developments pb away from this classical ideal), modern and postmodern architects frequently used disproportion equally a blueprint element. For example, while nearly bridges employ a symmetrical grade due to intrinsic simplicities of design, analysis, fabrication, and economical apply of materials, a number of modernistic bridges have deliberately departed from this, either in response to site-specific considerations or to create a dramatic design statement. .

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

Radial residual refers to circular elements in compositions. In classical geometry, a radius of a circle 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 whatsoever such segment, which is half the diameter. The radius may be more than half the bore, which is usually divers equally the maximum distance betwixt any two points of the figure. The inradius of a geometric figure is usually the radius of the largest circumvolve or sphere contained in information technology. The inner radius of a ring, tube or other hollow object is the radius of its cavity. The proper noun "radial" or "radius" comes from Latin radius, meaning "ray" only also the spoke of a circular chariot cycle.

Rhythm

Artists utilise rhythm every bit 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 exist more often than not defined every bit a "movement marked by the regulated succession of stiff and weak elements, or of opposite or dissimilar weather" (Anon. 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 case, placing a carmine spiral at the bottom left and acme correct, for example, volition cause the center to move from one screw, to the other, and everything in betwixt. It is indicating movement in the piece by the repetition of elements and, therefore, can make artwork seem active.

Key Terms

• symmetry:Verbal correspondence on either side of a dividing line, plane, center or axis. The satisfying system 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 work of fine art. While there is some variation among them, movement, unity, harmony, variety, remainder, rhythm, accent, contrast , proportion, and pattern are commonly sited as principles of fine art.

Rhythm (from Greek rhythmos, "any regular recurring motion, symmetry " (Liddell and Scott 1996)) may be generally defined every bit a "movement marked by the regulated succession of potent and weak elements, or of opposite or different conditions" (Anon. 1971). This general significant of regular recurrence or pattern in time may be practical to a wide variety 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 calibration, of musical sounds and silences, of the steps of a dance, or the meter of voice communication and poetry. Rhythm may also refer to visual presentation, equally "timed movement through space" (Jirousek 1995), and a common language of blueprint 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 scarlet spiral at the bottom left and top right, for example, will cause the eye to motility from ane screw, to the other, and then to the infinite in between. The repetition of elements creates movement of the viewer 'southward heart and can, therefore, brand the artwork feel active. Hilma af Klint'south 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 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

Utilise the concept of proportion to different works of art

Key Takeaways

Key Points

• Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the artist uses unnatural proportion or scale to draw the relative importance of the figures in the artwork.
• Mathematically, proportion is the relation between elements and a whole. In architecture, the whole is not simply a building merely the fix and setting of the site.
• Among the various ancient creative traditions, the harmonic proportions, homo proportions, catholic orientations, various aspects of sacred geometry , and modest whole-number ratios were all applied as part of the practice of architectural design.

Central Terms

• gilded ratio:The irrational number (approximately 1·618), unremarkably denoted by the Greek letter of the alphabet 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 ane. Some twentieth-century artists and architects have proportioned their works to approximate this—specially in the form of the golden rectangle, in which the ratio of the longer side to the shorter equals this number—assertive this proportion to be aesthetically pleasing.

Proportion is a measurement of the size and quantity of elements within a composition . Hierarchical proportion is a technique used in fine art, by and large in sculpture and painting, in which the creative person uses unnatural proportion or scale to draw the relative importance of the figures in the artwork. In ancient Egyptian art, for example, gods and important political figures appear much larger than common people. Beginning with the Renaissance , artists recognized the connexion between proportion and perspective , and the illusion of iii-dimensional space . Images of the human 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 carrying 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 compages, the whole is not just a building but the prepare 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 information technology is situated. Light, shade, air current, elevation , and choice of materials all relate to a standard of architectural proportion.

Architecture has oftentimes used proportional systems to generate or constrain the forms considered suitable for inclusion in a building. In almost every edifice tradition, there is a system of mathematical relations which governs the relationships between aspects of the design. These systems of proportion are ofttimes quite simple: whole number ratios or incommensurable ratios (such equally the golden ratio) were determined using geometrical methods. More often than not, the goal of a proportional system is to produce a sense of coherence and harmony among the elements of a building.

Amongst the various ancient artistic traditions, the harmonic proportions, human proportions, cosmic orientations, various aspects of sacred geometry, and modest whole-number ratios were all practical 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 not based on body parts and their spans (fingers, palms, hands, and feet), but rather on cavalcade diameters and the widths of arcades and fenestrations .

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

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

Infinite

Space in art can be defined equally the area that exists betwixt two identifiable points.

Learning Objectives

Ascertain space in art and list means 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 piece of work of art.
• The space of an artwork includes the background, foreground, and middle footing , as well as the distance between, around, and within things.
• There are two types of space: positive infinite and negative space.
• Later spending hundreds of years developing linear perspective , Western creative notions about the authentic delineation of infinite 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 space within Western art, which is still being felt today.

Key Terms

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

The organization of space in art is referred to as limerick, and is an essential component of whatever work of art. Space tin can be generally defined equally the area that exists between any 2 identifiable points.

Space is conceived of differently in each medium . The space in a painting, for example, includes the background, foreground and middle ground, while 3-dimensional space, like sculpture or installation , will involve the altitude between, around, and inside points of the work. Space is further categorized as positive or negative. "Positive space" can be defined as the subject of an artwork, while "negative infinite" can exist defined as the space around the subject field.

Over the ages, space has been conceived of in various means. Artists have devoted a corking bargain of fourth dimension to experimenting with perspectives and degrees of flatness of the pictorial aeroplane .

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

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

Two-Dimensional Infinite

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

Learning Objectives

Talk over two-dimensional infinite in fine art and the physical backdrop on which information technology is based

Key Takeaways

Key Points

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

Cardinal 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.
• Ii-Dimensional:Existing in two dimensions. Non creating the illusion of depth.
• Planar:Of or pertaining to a plane. Flat, 2-dimensional.

Ii 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 aforementioned plane . In physics, our bi-dimensional infinite 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 , cartoon is a form of visual art that makes apply of any number of drawing instruments to mark a 2-dimensional medium (meaning that the object does not have depth). Ane of the simplest and well-nigh efficient means of communicating visual ideas, the medium has been a popular and fundamental ways of public expression throughout human 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 footstep in producing a realistic rendition of a discipline. Tools such every bit a compass tin exist used to measure out the angles of different sides. These angles tin can be reproduced on the drawing surface and and then rechecked to brand sure they are accurate. Another course of measurement is to compare the relative sizes of different parts of the discipline with each other. A finger placed at a indicate along the drawing implement can be used to compare that dimension with other parts of the image. A ruler tin can be used both every bit a straightedge and a device to compute proportions. When attempting to depict a complicated shape such every bit a human figure, it is helpful at outset to represent the grade with a set of primitive shapes.

Nigh any dimensional form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes take been assembled into a likeness, then 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 drawing relies upon the artist possessing a deep agreement of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon motion, and how the different parts work together during move. This allows the artist to render more natural poses that exercise non appear artificially stiff. The creative person is also familiar with how the proportions vary depending on the historic period of the subject, particularly when drawing a portrait.

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

Linear Perspective and Three-Dimensional Space

Perspective is an approximate representation on a flat surface of an image every bit it is seen by the eye.

Learning Objectives

Explain perspective and its impact on art limerick

Key Takeaways

Fundamental Points

• Systematic attempts to evolve a arrangement of perspective are usually considered to have begun around the fifth century B.C. in the 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 employ and sophistication of attempts to convey distance increased steadily but without a ground in a systematic theory.
• By the Renaissance , nearly every artist in Italia used geometrical perspective in their paintings, both to portray depth and also equally a new and "of the moment" compositional method.

Key Terms

• curvilinear:Having bends; curved; formed by curved lines.
• horizon line:A horizontal line in perspective drawing, directly contrary the viewer'south eye and often implied, that represents objects infinitely far abroad and determines the angle or perspective from which the viewer sees the piece of work.
• vanishing point:The bespeak in a perspective drawing at which parallel lines receding from an observer seem to converge.
• Perspective:The technique of representing 3-dimensional objects on a 2-dimensional surface.

In fine art, perspective is an approximate representation on a flat surface of an image as it is seen by the heart, calculated by bold a particular vanishing point . Systematic attempts to evolve a system of perspective are ordinarily considered to have begun around the 5th century BCE in the art of Aboriginal Greece. By the afterwards periods of antiquity , artists—particularly those in less pop traditions—were well enlightened that afar objects could be shown smaller than those close at hand for increased illusionism. Simply whether this convention was actually used in a piece of work depended on many factors. Some of the paintings plant in the ruins of Pompeii prove a remarkable realism and perspective for their time.

The earliest art paintings and drawings typically sized objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer. The virtually 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 Ancient Egypt , where a grouping of "nearer" figures are shown below the larger effigy(s).

The art of the Migration Period had no tradition of attempting compositions of large numbers of figures, and Early on Medieval art was slow and inconsistent in relearning the convention from classical models, though the process can exist seen underway in Carolingian art. European Medieval artists were aware of the general principle of varying the relative size of elements co-ordinate to altitude, and use and sophistication of attempts to convey altitude increased steadily during the flow, only without a basis in a systematic theory.

By the Renaissance, however, nearly every artist in Italia used geometrical perspective in their paintings. Not merely was this use of perspective a mode to portray depth, but it was also a new method of composing a painting. Paintings began to evidence a single, unified scene, rather than a combination of several. For a while, perspective remained the domain of Florence. Gradually, and partly through the motility of academies of the arts, the Italian techniques became part of the training of artists beyond Europe and, later, other parts of the world.

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

A drawing has 1-point perspective when it contains simply 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 is directly facing the viewer. Whatever objects that are made upwards of lines either direct parallel with the viewer's line of sight or straight perpendicular (the railroad slats) can be represented with one-point perspective. These parallel lines converge at the vanishing point.

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

Three-point perspective is used for buildings depicted from above or below. In improver to the two vanishing points from earlier, one for each wall, there is now a 3rd ane for how those walls recede into the footing . This tertiary vanishing signal would be below the ground.

Iv-point perspective is the curvilinear variant of 2-signal perspective. The resulting elongated frame can be used both horizontally and vertically. Like all other foreshortened variants of perspective, four-point perspective starts off with a horizon line, followed by four every bit spaced vanishing points to delineate four vertical lines. Considering vanishing points be but when parallel lines are present in the scene, a perspective with no vanishing points ("cypher-betoken") occurs if the viewer is observing a non-rectilinear scene. The nearly common example of a nonlinear scene is a natural scene (e.g., a mountain range), which frequently does not contain whatever parallel lines. A perspective without vanishing points tin can withal 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

Fundamental Takeaways

Key Points

• Perspective project baloney is the inevitable misrepresentation of three-dimensional space when drawn or "projected" onto a two-dimensional surface. It is incommunicable to accurately depict three-dimensional reality on a two-dimensional aeroplane .
• However, there are several constructs available which allow for seemingly accurate representation. Perspective project can be used to mirror how the centre sees past the use of 1 or more vanishing points .
• Although baloney can exist irregular or follow many patterns, the almost normally encountered distortions in limerick , especially in photography, are radially symmetric, or approximately so, arising from the symmetry of a photographic lens.

Cardinal Terms

• radial:Bundled like rays that radiate from, or converge into, a common eye
• projection:The image that a translucent object casts onto another object.
• foreshortening:A technique for creating the appearance that the object of a drawing is extending into space by shortening the lines with which that object is fatigued.

A baloney is the alteration of the original shape (or other characteristic) of an object, prototype, sound, or other class of data or representation. Baloney can exist wanted or unwanted by the creative person. Distortion is usually unwanted when it concerns physical deposition of a work. However, it is more usually referred to in terms of perspective, where it is employed to create realistic representations of space in two-dimensional works of art.

Perspective Projection Distortion

Perspective project distortion is the inevitable misrepresentation of iii-dimensional space when fatigued or "projected" onto a two-dimensional surface. Information technology is impossible to accurately depict three-dimensional reality on a two-dimensional aeroplane. However, there are several constructs available that permit for seemingly authentic representation. The most common of these is perspective project. Perspective projection tin be used to mirror how the middle sees by making utilise of ane or more vanishing points.

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

Foreshortening

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

The physiological footing of visual foreshortening was undefined until the year grand when the Arabian mathematician and philosopher, Alhazen, in his Perspectiva, first 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 outset to recognize that the paradigm beheld by the heart is distorted: to the heart, parallel lines appear to intersect (like the distant edges of a path or road), whereas in "undistorted" nature, they do not. In many of Giotto's paintings, perspective is employed to attain various distortion furnishings.

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

Distortion in Photography

In photography, the projection mechanism is 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 signal. These projectors intersect with an imaginary airplane of projection and an epitome is created on the airplane by the points of intersection. The resulting image on the projection plane reproduces the image of the object equally it is beheld from the station point.

Radial distortion can ordinarily be classified every bit 1 of two primary types: barrel distortion and pincushion distortion. Barrel baloney occurs when image magnification decreases with distance from the optical axis. The apparent effect is that of an image which has been mapped around a sphere (or barrel). Fisheye lenses, which have hemispherical views, utilize this type of distortion as a way to map an infinitely wide object aeroplane into a finite image surface area.

On the other paw, in pincushion baloney, the image magnification increases with the altitude from the optical axis. The visible event is that lines that do non go through the center of the image are bowed inwards, towards the heart of the paradigm, like a pincushion. A certain amount of pincushion distortion is often found with visual optical instruments (i.e., binoculars), where it serves to eliminate the globe event.

Cylindrical perspective is a form of distortion caused by fisheye and panoramic lenses, which reproduce straight horizontal lines above and below the lens axis level every bit curved, while reproducing straight horizontal lines on lens axis level as straight. This is also a common feature of wide-angle anamorphic lenses of less than 40mm focal length in cinematography. Essentially it is just butt distortion, but simply in the horizontal airplane. 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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