Not All Who Perceive With Eyes the Sensible Products of Art Are Affected Alike by the Same Object

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

The list below describes each chemical element of art. Learn most the principles of blueprint here.

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

Line

A line is an identifiable path created by a betoken moving in space. It is 1-dimensional and can vary in width, direction, and length. Lines often define the edges of a form. Lines can exist horizontal, vertical, or diagonal, straight or curved, thick or thin. They lead your centre around the composition and can communicate information through their character and management.

Horizontal lines propose a feeling of residual or repose because objects parallel to the world are at residue. In this landscape, horizontal lines besides help requite a sense of space. The lines delineate sections of the landscape, which recede into space. They as well imply continuation of the landscape across the motion-picture show aeroplane to the left and right.

Vertical lines ofttimes communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky. In this church interior, vertical lines suggest spirituality, ascent beyond human reach toward the heavens.

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

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

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

Shape and form

Shape and form define objects in infinite. Shapes have two dimensions–elevation and width–and are ordinarily defined past lines. Forms exist in three dimensions, with height, width, and depth.

Shape has only summit and width. Shape is unremarkably, though not always, defined past line, which can provide its contour. In this prototype, rectangles and ovals dominate the composition. They describe the architectural details for an illusionist ceiling fresco.

Course has depth besides as width and height. 3-dimensional form is the basis of sculpture, article of furniture, and decorative arts. Three-dimensional forms can be seen from more than one side, such equally this sculpture of a rearing horse.

Geometric shapes and forms include mathematical, named shapes such as squares, rectangles, circles, cubes, spheres, and cones. Geometric shapes and forms are often man-fabricated. However, many natural forms too accept geometric shapes. This cabinet is decorated with designs of geometric shapes.

Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are oft found in nature, merely homo-fabricated shapes tin also imitate organic forms. This wreath uses organic forms to simulate leaves and berries.

Infinite

Existent space is 3-dimensional. Space in a work of art refers to a feeling of depth or three dimensions. It tin can besides refer to the artist'due south use of the area inside the motion picture plane. The area around the main objects in a work of fine art is known as negative space, while the infinite occupied by the principal objects is known as positive space.

Positive and negative space
The relationship of positive to negative space can greatly affect the touch on of a work of art. In this drawing, the man and his shadow occupy the positive space, while the white space surrounding him is the negative space. The asymmetric amount of negative space accentuates the figure'due south vulnerability and isolation.

Iii-dimensional space
The perfect illusion of three-dimensional space in a two-dimensional work of fine art is something that many artists, such as Pieter Saenredam, labored to accomplish. The illusion of space is achieved through perspective drawing techniques and shading.

Color

Light reflected off objects. Color has three principal characteristics: hue (red, green, blue, etc.), value (how calorie-free or dark it is), and intensity (how bright or dull it is). Colors tin be described every bit warm (red, yellowish) or cool (bluish, gray), depending on which finish of the color spectrum they fall.

Value describes the brightness of color. Artists use color value to create dissimilar moods. Dark colors in a limerick propose a lack of light, every bit in a dark or interior scene. Night colors can often convey a sense of mystery or foreboding.

Low-cal colors often describe a light source or low-cal reflected within the composition. In this painting, the dark colors suggest a night or interior scene. The artist used low-cal colors to describe the light created by the candle flame.

Intensity describes the purity or strength of a colour. Vivid colors are undiluted and are ofttimes associated with positive energy and heightened emotions. Dull colors have been diluted by mixing with other colors and create a sedate or serious mood. In this image the creative person captured both the seriousness and the joy of the scene with the deadening gray stone interior and the brilliant ruby-red pall.

Texture

The surface quality of an object that we sense through touch. All objects accept a physical texture. Artists can also convey texture visually in two dimensions.

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

Texture depicted in ii-dimensions
Artists use color, line, and shading to imply textures. In this painting, the homo's robe is painted to simulate silk. The ability to assuredly portray material of different types was one of the marks of a great painter during the 17th century.

Surface texture
The surface of this writing desk is metallic and hard. The hard surface is functional for an object that would have been used for writing. The smooth surface of the writing desk reflects light, calculation sparkle to this article of furniture.

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