A Work of Art Is Said to Have Shape When It Has the

The elements of 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 art.

The list below describes each chemical 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. Information technology is 1-dimensional and can vary in width, management, and length. Lines frequently define the edges of a form. Lines tin be horizontal, vertical, or diagonal, directly or curved, thick or thin. They pb your eye effectually the composition and can communicate information through their character and direction.

Horizontal lines suggest a feeling of remainder or repose because objects parallel to the earth are at residuum. In this mural, horizontal lines too help give a sense of space. The lines delineate sections of the landscape, which recede into infinite. They also imply continuation of the landscape across the film plane to the left and right.

Vertical lines oft communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky. In this church interior, vertical lines propose spirituality, ascension across human reach toward the heavens.

Horizontal and vertical lines used in combination communicate stability and solidity. Rectilinear forms with xc-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. Because they are neither vertical nor horizontal, they are either nearly to fall or are already in motion. 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 tin 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 composition. The edge of the puddle 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–height and width–and are usually defined by lines. Forms exist in 3 dimensions, with summit, width, and depth.

Shape has only height and width. Shape is normally, though not e'er, defined by line, which tin can provide its contour. In this epitome, rectangles and ovals boss the composition. They describe the architectural details for an illusionist ceiling fresco.

Class has depth every bit well as width and height. Iii-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 equally squares, rectangles, circles, cubes, spheres, and cones. Geometric shapes and forms are often man-made. Still, 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 frequently found in nature, only man-fabricated shapes can 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 fine art refers to a feeling of depth or three dimensions. Information technology tin can also refer to the artist's employ of the surface area within the picture plane. The area around the principal objects in a piece of work of art is known as negative space, while the space occupied past the primary objects is known as positive space.

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

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

Colour

Calorie-free reflected off objects. Colour has three chief characteristics: hue (red, green, bluish, etc.), value (how lite or dark it is), and intensity (how bright or dull it is). Colors can exist described every bit warm (red, yellowish) or cool (bluish, gray), depending on which end of the color spectrum they autumn.

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

Light colors frequently 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 low-cal colors to describe the low-cal created by the candle flame.

Intensity describes the purity or forcefulness of a color. Bright colors are undiluted and are oftentimes associated with positive energy and heightened emotions. Deadening colors accept been diluted by mixing with other colors and create a sedate or serious mood. In this image the artist captured both the seriousness and the joy of the scene with the dull gray stone interior and the bright cerise drapery.

Texture

The surface quality of an object that we sense through impact. All objects have a physical texture. Artists tin can besides convey texture visually in ii 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, 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 ii-dimensions
Artists use 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 different types was 1 of the marks of a great painter during the 17th century.

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

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