One of the Elements of Art That Is Not a Part of the Printing Process Is

i. Line

There are many different types of lines, all characterized by their length being greater than their width. Lines can be static or dynamic depending on how the artist chooses to utilise them. They help determine the motion, management and free energy in a work of art. Nosotros run across line all around u.s. in our daily lives; telephone wires, tree branches, jet contrails and winding roads are just a few examples. Look at the photo below to see how line is part of natural and constructed environments.

In this image of a lightning tempest we tin can see many unlike lines. Certainly the jagged, meandering lines of the lightning itself dominate the image, followed past the straight lines of the skyline structures and the coast line. At that place are more subtle lines too, like the lights along the buildings.  Lines are even unsaid by the reflections in the h2o.

The Nazca lines in the barren littoral plains of Peru engagement to nearly 500 BCE were scratched into the rocky soil, depicting animals on an incredible scale, so big that they are all-time viewed from the air. Let's look at how the dissimilar kinds of line are made.

Diego Velazquez'southward Las Meninas from 1656, ostensibly a portrait of the Infanta Margarita, the daughter of Rex Philip Iv and Queen Mariana of Spain, offers a sumptuous amount of artistic genius; its sheer size (near x feet foursquare), painterly mode of naturalism, lighting effects, and the enigmatic figures placed throughout the canvas–including the artist himself –is ane of the great paintings in western art history. Let'southward examine it (below) to uncover how Velazquez uses basic elements and principles of fine art to achieve such a masterpiece.

Diego Velazquez, Las Meninas, 1656, oil on canvas, 125.2" ten 108.7". Prado, Madrid. CC By-SA

Actual lines are those that are physically present. The edge of the wooden stretcher bar at the left of Las Meninas is an actual line, as are the picture frames in the background and the linear decorative elements on some of the figures' dresses. How many other actual lines tin can you lot find in the painting?

Implied lines are those created past visually connecting 2 or more areas together. The gaze to the Infanta Margarita—the blonde central figure in the composition—from the meninas, or maids of laurels, to the left and right of her, are unsaid lines. They visually connect the figures. By visually connecting the space between the heads of all the figures in the painting nosotros have a sense of jagged implied line that keeps the lower role of the composition in motility, counterbalanced confronting the darker, more static upper areas of the painting. Implied lines can also be created when two areas of different colors or tones come up together. Can you identify more implied lines in the painting? Where? Implied lines are found in three-dimensional artworks, as well. The sculpture of the Laocoon beneath, a figure from Greek and Roman mythology, is, along with his sons, being strangled by sea snakes sent by the goddess Athena as wrath against his warnings to the Trojans not to accept the Trojan horse. The sculpture sets implied lines in move as the figures writhe in agony against the snakes.

Laocoon Grouping, Roman re-create of Greek original, Vatican Museum, Rome. Photo by Marie-Lan Nguyen. CC BY-SA

Straight or archetype lines provide structure to a limerick. They can exist oriented to the horizontal, vertical, or diagonal axis of a surface. Straight lines are by nature visually stable, while even so giving management to a composition. InLas Meninas, yous tin can meet them in the sheet supports on the left, the wall supports and doorways on the right, and in the background in matrices on the wall spaces between the framed pictures. Moreover, the small horizontal lines created in the stair edges in the groundwork aid anchor the entire visual design of the painting. Vertical and horizontal direct lines provide the nigh stable compositions. Diagonal directly lines are unremarkably more visually dynamic, unstable, and tension-filled.

Straight lines, xi July 2012, Creator: Oliver Harrison. CC By

Expressive lines are curved, adding an organic, more than dynamic graphic symbol to a work of art. Expressive lines are often rounded and follow undetermined paths. In Las Meninas you can encounter them in the aprons on the girls' dresses and in the dog's folded hind leg and coat pattern. Look once more at the Laocoon to see expressive lines in the figures' flailing limbs and the sinuous form of the snakes. Indeed, the sculpture seems to be made up of zilch but expressive lines, shapes and forms.

Organic lines, eleven July 2012, Creator: Oliver Harrison. CC BY

At that place are other kinds of line that comprehend the characteristics of those above however, taken together, help create additional artistic elements and richer, more than varied compositions. Refer to the images and examples below to become familiar with these types of line.

Outline, or contour line is the simplest of these. They create a path around the edge of a shape. In fact, outlines often define shapes.

Outline, eleven July 2012, Creator: Oliver Harrison. CC By

Hatch lines are repeated at short intervals in more often than not one direction. They give shading and visual texture to the surface of an object.

Hatch, 11 July 2012, Creator: Oliver Harrison. CC BY

Crosshatch lines provide additional tone and texture. They can be oriented in any direction. Multiple layers of crosshatch lines tin can give rich and varied shading to objects by manipulating the force per unit area of the cartoon tool to create a large range of values.

Crosshatch, 11 July 2012, Creator: Oliver Harrison. CC BY

Line quality is that sense of character embedded in the fashion a line presents itself. Certain lines accept qualities that distinguish them from others. Hard-edged, jagged lines have a staccato visual movement while organic, flowing lines create a more comfortable feeling. Meandering lines can exist either geometric or expressive, and yous can encounter in the examples how their indeterminate paths animate a surface to different degrees.

Lines, eleven July 2012, Creator: Oliver Harrison. CC By

Although line equally a visual element generally plays a supporting part in visual art, there are wonderful examples in which line carries a potent cultural significance equally the primary subject matter.

Calligraphic lines use quickness and gesture, more than akin to paint strokes, to imbue an artwork with a fluid, lyrical character. To see this unique line quality, expect upward the work of Chinese poet and creative person Dong Qichang, dating from the Ming dynasty (1555-1637). A more than geometric example from the Koran, created in the Arabic calligraphic manner, dates from the 9^th century.

Both these examples show how artists use line every bit both a class of writing and a visual fine art class. American artist Mark Tobey (1890–1976) was influenced by Oriental calligraphy, adapting its form to the act of pure painting within a modern abstract manner described equally white writing.

ii. Shape

A shape is defined as an enclosed surface area in two dimensions. By definition shapes are always flat, merely the combination of shapes, color, and other means can make shapes appear three-dimensional, as forms. Shapes can be created in many ways, the simplest by enclosing an surface area with an outline. They can too exist made by surrounding an area with other shapes or the placement of different textures side by side to each other—for instance, the shape of an island surrounded by water. Because they are more than complex than lines, shapes are normally more of import in the arrangement of compositions. The examples beneath give usa an idea of how shapes are fabricated.

Geometric Shapes, eleven July 2012, Creator: Oliver Harrison. CC BY

Referring back to Velazquez's Las Meninas, it is fundamentally an organisation of shapes; organic and difficult-edged, low-cal, night and mid-toned, that solidifies the composition inside the larger shape of the canvas. Looking at it this mode, we can view whatever piece of work of fine art, whether two or iii-dimensional, realistic, abstract or non-objective, in terms of shapes lonely.

Geometric Shapes vs. Organic Shapes

Shapes tin can be further categorized into geometric and organic. Examples of geometric shapes are the ones we tin can recognize and name: squares, triangles, circles, hexagons, etc. Organic shapes are those that are based on organic or living things or are more free form: the shape of a tree, confront, monkey, cloud, etc.

3. Course

Course is sometimes used to draw a shape that has an implied tertiary dimension. In other words, an creative person may try to brand parts of a flat image appear three-dimensional. Notice in the drawing below how the creative person makes the different shapes appear three-dimensional through the utilise of shading. It'south a apartment image merely appears three-dimensional.

This epitome is complimentary of copyright restrictions.

When an image is incredibly realistic in terms of its forms (as well as colour, space, etc.) such as this painting by Edwaert Collier, we telephone call that trompe l'oeil, French for "fool the eye."

Edweart Collier, Trompe l'oeil with Writing Materials,
oil on canvas, c. 1702.
This image is in the public domain.

4. Infinite

Space is the empty area surrounding or between real or implied objects. Humans categorize infinite: at that place is outer space, that limitless void we enter across our sky; inner space, which resides in people's minds and imaginations, and personal infinite, the important just intangible area that surrounds each individual and which is violated if someone else gets also close. Pictorial space is apartment, and the digital realm resides in cyberspace. Art responds to all of these kinds of space.

Many artists are equally concerned with space in their works as they are with, say, colour or course. There are many ways for the artist to nowadays ideas of space. Remember that many cultures traditionally utilise pictorial infinite equally a window to view realistic subject affair through, and through the bailiwick thing they present ideas, narratives and symbolic content. The innovation of linear perspective, an unsaid geometric pictorial construct dating from fifteenth-century Europe, affords us the authentic illusion of iii-dimensional space on a flat surface, and appears to recede into the distance through the use of a horizon line and vanishing point(s) . You can see how one-point linear perspective is prepare upwards in the examples beneath:

One-Point Linear Perspective, eleven July 2012, Creator: Oliver Harrison. CC By

I-point perspective occurs when the receding lines appear to converge at a single signal on the horizon and used when the flat front of an object is facing the viewer. Note: Perspective can be used to show the relative size and recession into space of any object, but is most constructive with hard-edged iii-dimensional objects such as buildings.

A classic Renaissance artwork using i point perspective is Leonardo da Vinci'south The Last Supper from 1498. Da Vinci composes the work by locating the vanishing betoken directly behind the caput of Christ, thus drawing the viewer's attention to the middle. His artillery mirror the receding wall lines, and, if nosotros follow them as lines, would converge at the same vanishing point.

Leonardo da Vinci, The Last Supper, 1498. Fresco. Santa Maria della Grazie. Work is in the public domain.

Two-point perspective occurs when the vertical border of a cube is facing the viewer, exposing two sides that recede into the distance, one to each vanishing point.

Ii-Point Perspective, eleven July 2012, Creator: Oliver Harrison. CC BY

View Gustave Caillebotte'southward Paris Street, Rainy Weather from 1877 to see how 2-point perspective is used to give an accurate view to an urban scene.  The artist'south composition, notwithstanding, is more than complex than just his employ of perspective. The figures are deliberately placed to directly the viewer's eye from the front right of the pic to the building'due south front end border on the left, which, like a ship'southward bow, acts as a cleaver to plunge both sides toward the horizon. In the midst of this visual recession a lamp mail stands firmly in the centre to abort our gaze from going right out the dorsum of the painting. Caillebotte includes the fiddling metal arm at the top right of the postal service to direct us again along a horizontal path, now keeping us from traveling off the acme of the canvas. As relatively spare every bit the left side of the work is, the artist crams the correct side with hard-edged and organic shapes and forms in a complex play of positive and negative infinite.

The perspective organisation is a cultural convention well suited to a traditional western European thought of the "truth," that is, an authentic, clear rendition of observed reality. Even after the invention of linear perspective, many cultures traditionally use a flatter pictorial space, relying on overlapping, size differences, or vertical placementof components in a two-dimensional work of fine art. Examine the miniature painting of the Third Courtroom of the Topkapi Palacefrom fourteenth-century Turkey to dissimilarity its pictorial space with that of linear perspective. Information technology's composed from a number of dissimilar vantage points (every bit opposed to vanishing points), all very apartment to the moving picture plane. While the overall prototype is seen from to a higher place, the figures and trees appear as cutouts, seeming to float in mid air. Detect the towers on the far left and right are sideways to the film plane. The copse and people occupying the upper parts of the prototype are meant to be perceived as further from the viewer as compared to those copse, buildings and people located near the bottom of the painting. This is an example of vertical placement.

Every bit "incorrect" as it looks, the painting does give a detailed description of the landscape and structures on the palace grounds.

Third Court of the Topkapi Palace, from the Hunername, 1548. Ottoman miniature painting, Topkapi Museum, Istanbul. CC Past-SA

After nearly five hundred years using linear perspective, western ideas about how space is depicted accurately in two dimensions went through a revolution at the beginning of the xx^th century. A immature Castilian creative person, Pablo Picasso, moved to Paris, then western culture'south majuscule of art, and largely reinvented pictorial space with the invention of Cubism, ushered in dramatically by his painting Les Demoiselles d'Avignon in 1907. He was influenced in part by the chiseled forms, angular surfaces and asymmetry of African sculpture (refer dorsum to the Male Figurefrom Cameroon) and mask-like faces of early Iberian artworks. For more than data about this important painting, listen to the following question and reply.

In the early on 20th century, Picasso, his friend Georges Braque and a scattering of other artists struggled to develop a new space that relied on, ironically, the flatness of the picture show plane to carry and animate traditional subject affair including figures, nevertheless life and landscape. Cubist pictures, and eventually sculptures, became amalgams of unlike points of view, light sources and planar constructs. It was equally if they were presenting their field of study thing in many ways at once, all the while shifting foreground, middle ground and background and so the viewer is not sure where one starts and the other ends. In an interview, the artist explained cubism this fashion: "The problem is now to pass, to become around the object, and requite a plastic expression to the result. All of this is my struggle to break with the two-dimensional attribute*"(from Alexander Liberman, An Artist in His Studio, 1960, page 113). Public and disquisitional reaction to cubism was understandably negative, but the artists' experiments with spatial relationships reverberated with others and became – along with new ways of using colour – a driving force in the development of a modern art movement that based itself on the flatness of the picture plane. Instead of a window to look into, the flat surface becomes a ground on which to construct formal arrangements of shapes, colors and compositions. For another perspective on this idea, refer back to module one's discussion of 'abstraction'.

You tin can see the radical changes cubism made in George Braque's landscape La Roche Guyonfrom 1909. The trees, houses, castle and surrounding rocks comprise almost a single complex form, stair-stepping up the canvas to mimic the distant hill at the pinnacle, all of it struggling upwards and leaning to the correct within a shallow pictorial space.

George Braque, Castle at La Roche Guyon, 1909. Oil on canvass. Stedelijk van Abbe Museum, Eindhoven, Netherlands. Licensed through GNU and Creative Commons

As the cubist manner adult, its forms became fifty-fifty flatter. Juan Gris'south The Sunblindfrom 1914 splays the withal life it represents across the canvas.  Collage elements similar paper reinforce pictorial flatness.

Juan Gris, The Sunblind, 1914. Gouache, collage, chalk, and charcoal on canvas. Tate Gallery, London. Image licensed nether GNU Gratuitous Documentation License

It'south non so difficult to sympathize the importance of this new idea of infinite when placed in the context of comparable advances in science surrounding the turn of the nineteenth century. The Wright Brothers took to the air with powered flight in 1903, the same year Marie Curie won the commencement of ii Nobel prizes for her pioneering work in radiations. Sigmund Freud's new ideas on the inner spaces of the mind and its event on behavior were published in 1902, and Albert Einstein's calculations on relativity, the idea that space and time are intertwined, first appeared in 1905. Each of these discoveries added to human agreement and realligned the style we await at ourselves and our earth. Indeed, Picasso, speaking of his struggle to define cubism, said "Even Einstein did not know information technology either! The condition of discovery is outside ourselves; simply the terrifying matter is that despite all this, we tin can only find what we know" (from Picasso on Art, A Option of Views by Dore Ashton, (Souchere, 1960, page 15).

3-dimensional space doesn't undergo this fundamental transformation. It remains a visual and bodily human relationship between positive and negative spaces.

five. Value and Contrast

Value (or tone) is the relative lightness or darkness of a shape in relation to another. The value scale, divisional on one end past pure white and on the other by black, and in between a series of progressively darker shades of gray, gives an artist the tools to make these transformations. The value scale beneath shows the standard variations in tones. Values about the lighter end of the spectrum are termed loftier-keyed, those on the darker terminate are low-keyed.

Value Calibration, 11 July 2012, Creator: Oliver Harrison, CC BY

In two dimensions, the use of value gives a shape the illusion of form or mass and lends an entire composition a sense of light and shadow. The two examples beneath bear witness the effect value has on changing a shape to a grade.

second Course, 11 July 2012, Creator: Oliver Harrison, CC By

3D Class, eleven July 2012, Creator: Oliver Harrison, CC Past

This same technique brings to life what begins equally a simple line drawing of a immature man'southward head in Michelangelo's Head of a Youth and a Right Manus from 1508. Shading is created with line (refer to our give-and-take of line before in this module) or tones created with a pencil. Artists vary the tones by the amount of resistance they apply between the pencil and the newspaper they're cartoon on. A drawing pencil's leads vary in hardness, each ane giving a different tone than some other. Washes of ink or color create values adamant by the amount of water the medium is dissolved into.

The use of loftier contrast, placing lighter areas of value confronting much darker ones, creates a dramatic effect, while low dissimilarity gives more subtle results. These differences in effect are evident in 'Guiditta and Oloferne' by the Italian painter Caravaggio, and Robert Adams' photo Untitled, Denver from 1970-74. Caravaggio uses a high contrast palette to an already dramatic scene to increment the visual tension for the viewer, while Adams deliberately makes use of low contrast to underscore the drabness of the landscape surrounding the figure on the bike.

Caravaggio, Guiditta Decapitates Oloferne, 1598, oil on canvass. National Gallery of Italian Art, Rome. This work is in the public domain

6. Colour

Color is the almost complex artistic element because of the combinations and variations inherent in its employ.  Humans answer to colour combinations differently, and artists study and utilize color in part to give desired direction to their work.

Color is cardinal to many forms of art. Its relevance, use and role in a given work depend on the medium of that work. While some concepts dealing with colour are broadly applicative beyond media, others are non.

The full spectrum of colors is contained in white low-cal. Humans perceive colors from the lite reflected off objects. A red object, for example, looks ruby-red considering it reflects the reddish office of the spectrum. It would be a different color under a different light. Colour theory first appeared in the 17^th century when English mathematician and scientist Sir Isaac Newton discovered that white light could be divided into a spectrum past passing it through a prism.

The written report of color in art and design often starts with color theory. Color theory splits up colors into three categories: primary, secondary, and tertiary.

The bones tool used is a color wheel, developed by Isaac Newton in 1666. A more circuitous model known as the color tree, created past Albert Munsell, shows the spectrum made up of sets of tints and shades on connected planes.

There are a number of approaches to organizing colors into meaningful relationships. Most systems differ in structure only.

Traditional Model

Traditional color theory is a qualitative attempt to organize colors and their relationships. It is based on Newton's color cycle, and continues to be the well-nigh common system used by artists.

Blueish Yellow Ruddy Colour Wheel. Released under the GNU Free Documentation License

Traditional colour theory uses the same principles as subtractive colour mixing (see below) but prefers different primary colors.

• The primary colors are red, bluish, and yellow. You find them equidistant from each other on the color wheel. These are the "elemental" colors; not produced by mixing any other colors, and all other colors are derived from some combination of these iii.
• The secondary colors are orange (mix of red and yellow), dark-green (mix of blue and yellow), and violet (mix of blue and red).
• The tertiary colors are obtained by mixing one primary color and i secondary color. Depending on amount of color used, dissimilar hues can be obtained such every bit ruby-orange or yellow-dark-green. Neutral colors (browns and grays) tin can be mixed using the three master colors together.
• White and blackness prevarication outside of these categories. They are used to lighten or darken a color. A lighter colour (fabricated past adding white to it) is called a tint , while a darker color (made by adding blackness) is chosen a shade .

Color Mixing

Think well-nigh color every bit the result of light reflecting off a surface. Understood in this style, color can be represented equally a ratio of amounts of principal color mixed together. Color is produced when parts of the external light source's spectrum are captivated by the material and not reflected back to the viewer'southward heart. For example, a painter brushes bluish pigment onto a canvass. The chemic composition of the pigment allows all of the colors in the spectrum to be absorbed except blue, which is reflected from the paint's surface.  Common applications of subtractive color theory are used in the visual arts, color press and processing photographic positives and negatives.

• The chief colors are red, yellow, and bluish.
• The secondary colors are orange, green and violet.
• The tertiary colors are created by mixing a primary with a secondary color.
• Black is mixed using the three chief colors, while white represents the absence of all colors. Notation: because of impurities in subtractive color, a true black is incommunicable to create through the mixture of primaries. Considering of this the result is closer to brown. Similar to additive colour theory, lightness and darkness of a color is adamant by its intensity and density.

Subtractive Colour Mixing. Released under the GNU Free Documentation License

Colour Attributes

There are many attributes to color. Each one has an issue on how we perceive information technology.

• Hue refers to color itself, but also to the variations of a color.
• Value (as discussed previously) refers to the relative lightness or darkness of one color adjacent to another. The value of a color can make a difference in how it is perceived. A colour on a nighttime background will appear lighter, while that aforementioned color on a calorie-free groundwork will appear darker.
• Saturation refers to the purity and intensity of a color. The primaries are the most intense and pure, but diminish as they are mixed to course other colors. The creation of tints and shades also diminish a color's saturation. 2 colors work strongest together when they share the aforementioned intensity.

Color Interactions

Beyond creating a mixing hierarchy, color theory also provides tools for understanding how colors piece of work together.

Monochrome

The simplest color interaction is monochrome. This is the use of variations of a single hue. The advantage of using a monochromatic colour scheme is that y'all go a high level of unity throughout the artwork considering all the tones relate to ane another. Come across this in Mark Tansey's Derrida Queries de Human being from 1990.

Coordinating Color

Analogous colors are similar to i some other. Equally their name implies, analogous colors can exist found next to ane another on whatever 12-function color wheel:

Analogous Color, 11 July 2012, Creator: Oliver Harrison. CC BY

You can meet the outcome of analogous colors in Paul Cezanne's oil painting Auvers Panoromic View

Color Temperature

Colors are perceived to take temperatures associated with them. The colour bike is divided into warm and absurd colors. Warm colors range from yellow to red, while cool colors range from xanthous-light-green to violet.  You lot can attain complex results using merely a few colors when you pair them in warm and cool sets.

Warm cool colour, eleven July 2012, Creator: Oliver Harrison. CC By

Complementary Colors

Complementary colors are found straight opposite one another on a color bicycle. Here are some examples:

• purple and yellowish
• green and red
• orangish and blue

Complementary Colour, eleven July 2012, Creator: Oliver Harrison. CC By

Blue and orange are complements. When placed near each other, complements create a visual tension. This colour scheme is desirable when a dramatic effect is needed using but two colors.

7. Texture

At the virtually basic level, Three-dimensional works of art (sculpture, pottery, textiles, metalwork, etc.) and architecture have actual texture which is frequently determined by the material that was used to create it: forest, stone, bronze, clay, etc. Two-dimensional works of art like paintings, drawings, and prints may try to testify implied texture through the utilise of lines, colors, or other means. When a painting has a lot of actual texture from the awarding of thick paint, nosotros call that impasto.

The first image below is a sculpture, and like all three-dimensional objects it has actual texture.

The next two images are details from the painting The Arnolfini Portrait by January van Eyck. Here, the artist has created implied texture. If you were to touch this painting you would not feel the material of the clothing and carpeting, the wooden flooring or the shine metal of the chandelier, simply our eyes "see" the texture.

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Source: https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/oer-1-9/

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