How to Examine Art Elements in Relation to Forms

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

The listing below describes each element of art. Learn nigh the principles of design hither.

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

Line

A line is an identifiable path created by a signal moving in space. It is one-dimensional and can vary in width, direction, and length. Lines frequently define the edges of a form. Lines tin be horizontal, vertical, or diagonal, directly or curved, thick or thin. They atomic number 82 your centre around the composition and can communicate information through their grapheme and management.

Horizontal lines propose a feeling of residuum or repose because objects parallel to the earth are at rest. In this landscape, horizontal lines also help give a sense of space. The lines delineate sections of the landscape, which recede into space. They also imply continuation of the landscape beyond the film airplane to the left and correct.

Vertical lines frequently communicate a sense of height because they are perpendicular to the earth, extending upwards toward the heaven. In this church interior, vertical lines suggest spirituality, rising beyond 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 movement. Objects in a diagonal position are unstable. Because they are neither vertical nor horizontal, they are either about to autumn or are already in motion. The angles of the ship and the rocks on the shore convey a feeling of motility 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 take a pleasing, sensual quality and a softening effect on the composition. The edge of the pool in this photograph gently leads the eye to the sculptures on the horizon.

Shape and grade

Shape and form define objects in infinite. Shapes accept ii dimensions–height and width–and are unremarkably defined by lines. Forms exist in three dimensions, with height, width, and depth.

Shape has only height and width. Shape is normally, though non always, divers past line, which can provide its contour. In this image, rectangles and ovals dominate the composition. They describe the architectural details for an illusionist ceiling fresco.

Form has depth as well every bit width and summit. Three-dimensional form is the ground of sculpture, furniture, and decorative arts. 3-dimensional forms tin be seen from more i 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 oft man-fabricated. Notwithstanding, many natural forms also have geometric shapes. This cabinet is decorated with designs of geometric shapes.

Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are often found in nature, but homo-made shapes can besides imitate organic forms. This wreath uses organic forms to simulate leaves and berries.

Infinite

Real space is three-dimensional. Space in a work of art refers to a feeling of depth or three dimensions. It can also refer to the artist's apply of the area within the picture airplane. The expanse around the primary objects in a piece of work of art is known as negative space, while the space occupied by the chief objects is known every bit positive space.

Positive and negative space
The human relationship of positive to negative space can profoundly affect the impact of a work of art. In this cartoon, 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 space accentuates the effigy'due south vulnerability and isolation.

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

Color

Light reflected off objects. Colour has three principal characteristics: hue (red, green, blue, etc.), value (how light or night it is), and intensity (how bright or deadening it is). Colors tin can be described as warm (reddish, yellow) or cool (blue, gray), depending on which stop of the color spectrum they fall.

Value describes the brightness of color. Artists use color value to create different moods. Nighttime colors in a limerick suggest a lack of light, as in a night or interior scene. Dark colors tin can often convey a sense of mystery or foreboding.

Low-cal colors often depict a light source or lite reflected within the composition. In this painting, the dark colors propose a nighttime or interior scene. The artist used light colors to describe the light created past the candle flame.

Intensity describes the purity or strength of a colour. Bright colors are undiluted and are often associated with positive energy and heightened emotions. Dull colors accept been diluted by 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 grey rock interior and the bright red drapery.

Texture

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

In a 2-dimensional piece of work of art, texture gives a visual sense of how an object depicted would feel in existent life if touched: difficult, soft, rough, smooth, hairy, leathery, sharp, etc. In three-dimensional works, artists utilise actual texture to add a tactile quality to the work.

Texture depicted in two-dimensions
Artists utilize color, line, and shading to imply textures. In this painting, the homo's robe is painted to simulate silk. The ability to assuredly portray fabric of different types was i of the marks of a dandy 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 low-cal, adding sparkle to this piece of furniture.

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

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