Of All Fo the Work of Arts in This Room She Was the Pretttiest

The elements of fine art are components or parts of a work of art that tin can be isolated and divers. They are the building blocks used to create a work of fine 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 art and their definitions. (PDF, 168KB)

Line

A line is an identifiable path created by a point moving in infinite. It is one-dimensional and can vary in width, direction, and length. Lines ofttimes define the edges of a course. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin. They lead your eye around the composition and can communicate data through their character and direction.

Horizontal lines suggest a feeling of residuum or serenity because objects parallel to the earth are at residuum. In this mural, horizontal lines besides aid give a sense of space. The lines delineate sections of the mural, which recede into space. They too imply continuation of the mural across the movie airplane to the left and right.

Vertical lines often communicate a sense of height because they are perpendicular to the earth, extending up 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 xc-caste 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 fall or are already in motion. The angles of the send and the rocks on the shore convey a feeling of movement or speed in this stormy harbor scene.

The curve of a line tin can convey energy. Soft, shallow curves recall the curves of the human trunk and often accept a pleasing, sensual quality and a softening upshot on the limerick. The border of the puddle in this photo gently leads the centre to the sculptures on the horizon.

Shape and form

Shape and form define objects in infinite. Shapes have two dimensions–acme and width–and are usually defined by lines. Forms exist in iii dimensions, with peak, width, and depth.

Shape has only height and width. Shape is usually, though not ever, defined by 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 as width and height. Three-dimensional form is the basis of sculpture, furniture, and decorative arts. Three-dimensional forms can be seen from more than 1 side, such as 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 oft man-made. Yet, many natural forms as well 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 tin also imitate organic forms. This wreath uses organic forms to simulate leaves and berries.

Space

Real space is 3-dimensional. Space in a work of art refers to a feeling of depth or three dimensions. It can also refer to the artist's use of the expanse within the picture airplane. The area around the primary objects in a work of art is known as negative space, while the space occupied by the principal objects is known equally positive space.

Positive and negative infinite
The relationship of positive to negative space can greatly touch the impact of a work of art. In this cartoon, the man and his shadow occupy the positive space, while the white space surrounding him is the negative infinite. The disproportionate amount of negative space accentuates the effigy'southward vulnerability and isolation.

Three-dimensional space
The perfect illusion of three-dimensional space in a 2-dimensional work of art is something that many artists, such as Pieter Saenredam, labored to attain. The illusion of space is achieved through perspective drawing techniques and shading.

Colour

Calorie-free reflected off objects. Color has three main characteristics: hue (red, green, blue, etc.), value (how light or night information technology is), and intensity (how vivid or boring it is). Colors tin be described as warm (ruby-red, yellow) or cool (bluish, gray), depending on which end of the colour spectrum they fall.

Value describes the brightness of color. Artists apply colour value to create different moods. Dark colors in a composition propose a lack of light, as in a nighttime or interior scene. Nighttime colors can often convey a sense of mystery or foreboding.

Light colors often depict a lite source or light reflected within the composition. In this painting, the dark colors suggest 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 color. Bright colors are undiluted and are often associated with positive energy and heightened emotions. Dull colors take been diluted past mixing with other colors and create a sedate or serious mood. In this paradigm the artist captured both the seriousness and the joy of the scene with the dull gray rock interior and the vivid carmine drapery.

Texture

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

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

Texture depicted in two-dimensions
Artists utilise color, line, and shading to imply textures. In this painting, the man's robe is painted to simulate silk. The ability to convincingly portray fabric of dissimilar types was 1 of the marks of a swell painter during the 17th century.

Surface texture
The surface of this writing desk is metallic and difficult. The difficult surface is functional for an object that would take been used for writing. The smooth surface of the writing desk reflects lite, 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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