What Do You Call the Path of Which You Look at a Work of Art

The elements of art are components or parts of a work of fine 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 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 space. It is 1-dimensional and can vary in width, management, and length. Lines often 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 residual or repose considering 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 likewise imply continuation of the landscape beyond the picture plane to the left and right.

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

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

Diagonal lines convey a feeling of motion. Objects in a diagonal position are unstable. Considering they are neither vertical nor horizontal, they are either about to autumn 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 bend of a line tin convey energy. Soft, shallow curves think the curves of the human body and often have a pleasing, sensual quality and a softening outcome on the limerick. The edge of the pool in this photograph gently leads the eye to the sculptures on the horizon.

Shape and class

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

Shape has only height and width. Shape is commonly, though not always, defined by line, which tin 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 top. Three-dimensional form is the basis of sculpture, piece of furniture, and decorative arts. 3-dimensional forms can exist seen from more than ane 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-fabricated. Even so, 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 human-made shapes can also imitate organic forms. This wreath uses organic forms to simulate leaves and berries.

Space

Real space is iii-dimensional. Space in a work of fine art refers to a feeling of depth or three dimensions. Information technology can also refer to the artist's use of the surface area within the flick plane. The area around the primary objects in a work of art is known every bit 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 bear upon the impact of a piece of work of art. In this cartoon, the homo 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 figure's 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 attain. The illusion of space is accomplished through perspective cartoon techniques and shading.

Color

Calorie-free reflected off objects. Color has three principal characteristics: hue (red, green, blue, etc.), value (how light or night it is), and intensity (how vivid or dull it is). Colors can be described equally warm (red, xanthous) or cool (blue, gray), depending on which end of the colour spectrum they autumn.

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

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

Intensity describes the purity or strength of a color. Brilliant colors are undiluted and are often associated with positive energy and heightened emotions. Boring colors take been diluted by 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 grey stone interior and the bright crimson drapery.

Texture

The surface quality of an object that we 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 real life if touched: difficult, soft, crude, smooth, hairy, leathery, sharp, etc. In three-dimensional works, artists utilize actual texture to add a tactile quality to the work.

Texture depicted in ii-dimensions
Artists use colour, line, and shading to imply textures. In this painting, the homo'south 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 difficult. The hard surface is functional for an object that would take been used for writing. The smooth surface of the writing desk reflects light, 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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