Art Made From Shapes Rocket Ship Made Out of 12 Shaps

The elements of art are components or parts of a work of art that can exist isolated and defined. They are the edifice blocks used to create a work of art.

The list below describes each element of art. Learn about the principles of design here.

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

Line

A line is an identifiable path created by a bespeak moving in infinite. It is one-dimensional and tin vary in width, direction, and length. Lines often ascertain the edges of a grade. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin. They lead your eye around the limerick and can communicate data through their grapheme and direction.

Horizontal lines suggest a feeling of residue or repose because objects parallel to the world are at residuum. In this landscape, horizontal lines also help give a sense of space. The lines delineate sections of the landscape, which recede into space. They also imply continuation of the landscape beyond the picture aeroplane to the left and right.

Vertical lines ofttimes communicate a sense of height considering they are perpendicular to the world, extending upwards toward the heaven. In this church interior, vertical lines advise spirituality, rising 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 motility. Objects in a diagonal position are unstable. Considering they are neither vertical nor horizontal, they are either almost to fall or are already in motion. The angles of the transport 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 trunk and frequently take a pleasing, sensual quality and a softening consequence on the composition. The edge of the pool in this photograph gently leads the middle to the sculptures on the horizon.

Shape and form

Shape and form define objects in space. Shapes have two dimensions–height and width–and are usually defined by lines. Forms exist in three dimensions, with height, width, and depth.

Shape has simply elevation and width. Shape is usually, though non always, defined past line, which can provide its contour. In this paradigm, rectangles and ovals boss the composition. They describe the architectural details for an illusionist ceiling fresco.

Course has depth as well as width and height. Three-dimensional form is the footing of sculpture, furniture, and decorative arts. Three-dimensional forms can exist seen from more than one side, such as this sculpture of a rearing equus caballus.

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

Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are frequently found in nature, but man-fabricated shapes tin can also imitate organic forms. This wreath uses organic forms to simulate leaves and berries.

Space

Real infinite is iii-dimensional. Space in a piece of work of art refers to a feeling of depth or three dimensions. It tin besides refer to the creative person'due south use of the area within the picture airplane. The surface area around the primary objects in a work of art is known equally negative infinite, while the space occupied by the primary objects is known as positive infinite.

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

Iii-dimensional space
The perfect illusion of iii-dimensional space in a 2-dimensional work of art is something that many artists, such as Pieter Saenredam, labored to achieve. The illusion of infinite is accomplished through perspective cartoon techniques and shading.

Colour

Light reflected off objects. Color has three main characteristics: hue (ruddy, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it is). Colors can exist described every bit warm (red, yellow) or cool (blue, gray), depending on which end of the color spectrum they fall.

Value describes the brightness of color. Artists use colour value to create different moods. Dark colors in a composition suggest a lack of light, every bit in a night or interior scene. Dark colors can oftentimes convey a sense of mystery or foreboding.

Light colors often depict a light source or light reflected within the composition. In this painting, the nighttime colors suggest a night or interior scene. The artist used light colors to draw the light created by the candle flame.

Intensity describes the purity or strength of a color. Bright colors are undiluted and are oft associated with positive free energy and heightened emotions. Dull colors have been diluted past mixing with other colors and create a sedate or serious mood. In this prototype the artist captured both the seriousness and the joy of the scene with the dull greyness stone interior and the bright cerise drapery.

Texture

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

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

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

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

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

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