What Types of Lines Are Used in an Art Piece to Help Create a Sense of Movement in a Art Piece

i. Line

There are many different types of lines, all characterized by their length beingness greater than their width. Lines can be static or dynamic depending on how the artist chooses to utilize them. They aid determine the motion, direction and energy in a work of art. We see line all around usa in our daily lives; telephone wires, tree branches, jet contrails and winding roads are just a few examples. Look at the photograph below to see how line is part of natural and synthetic environments.

In this image of a lightning tempest nosotros tin see many unlike lines. Certainly the jagged, meandering lines of the lightning itself boss the image, followed by the straight lines of the skyline structures and the coast line. At that place are more subtle lines too, like the lights forth the buildings.  Lines are even implied by the reflections in the water.

The Nazca lines in the arid littoral plains of Peru appointment to nearly 500 BCE were scratched into the rocky soil, depicting animals on an incredible scale, and so large that they are best viewed from the air. Let's look at how the dissimilar kinds of line are fabricated.

Diego Velazquez'due south Las Meninas from 1656, ostensibly a portrait of the Infanta Margarita, the daughter of King Philip Four and Queen Mariana of Spain, offers a sumptuous corporeality of artistic genius; its sheer size (near ten feet foursquare), painterly mode of naturalism, lighting effects, and the enigmatic figures placed throughout the canvas–including the creative person himself –is one of the great paintings in western art history. Permit'due south examine it (below) to uncover how Velazquez uses basic elements and principles of art to accomplish such a masterpiece.

Diego Velazquez, Las Meninas, 1656, oil on canvas, 125.2" 10 108.7". Prado, Madrid. CC By-SA

Bodily lines are those that are physically present. The edge of the wooden stretcher bar at the left of Las Meninas is an actual line, every bit are the picture show frames in the groundwork and the linear decorative elements on some of the figures' dresses. How many other actual lines tin you observe in the painting?

Unsaid lines are those created by visually connecting 2 or more areas together. The gaze to the Infanta Margarita—the blonde central effigy in the composition—from the meninas, or maids of honor, to the left and right of her, are implied lines. They visually connect the figures. By visually connecting the space betwixt the heads of all the figures in the painting we have a sense of jagged unsaid line that keeps the lower part of the limerick in movement, counterbalanced confronting the darker, more static upper areas of the painting. Unsaid lines can as well exist created when two areas of unlike colors or tones come up together. Tin can you identify more implied lines in the painting? Where? Implied lines are constitute in iii-dimensional artworks, also. The sculpture of the Laocoon below, a figure from Greek and Roman mythology, is, along with his sons, being strangled by body of water snakes sent by the goddess Athena as wrath confronting his warnings to the Trojans not to take the Trojan equus caballus. The sculpture sets implied lines in movement as the figures writhe in agony against the snakes.

Laocoon Grouping, Roman copy of Greek original, Vatican Museum, Rome. Photo by Marie-Lan Nguyen. CC By-SA

Straight or archetype lines provide structure to a composition. They tin exist oriented to the horizontal, vertical, or diagonal axis of a surface. Straight lines are past nature visually stable, while still giving management to a composition. InLas Meninas, yous tin run across them in the canvas 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 modest horizontal lines created in the stair edges in the background help anchor the entire visual design of the painting. Vertical and horizontal direct lines provide the most stable compositions. Diagonal straight lines are usually 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 dynamic character to a work of art. Expressive lines are often rounded and follow undetermined paths. In Las Meninas you can see them in the aprons on the girls' dresses and in the dog'south folded hind leg and glaze pattern. Look again 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 fabricated up of zero simply expressive lines, shapes and forms.

Organic lines, 11 July 2012, Creator: Oliver Harrison. CC BY

At that place are other kinds of line that encompass the characteristics of those in a higher place yet, taken together, assistance create additional artistic elements and richer, more varied compositions. Refer to the images and examples below to become familiar with these types of line.

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

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

Hatch lines are repeated at brusque intervals in generally 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 give rich and varied shading to objects past manipulating the pressure level of the drawing tool to create a big range of values.

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

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

Lines, 11 July 2012, Creator: Oliver Harrison. CC Past

Although line as a visual element more often than not plays a supporting function in visual art, at that place are wonderful examples in which line carries a stiff cultural significance as the master subject field matter.

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

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

ii. Shape

A shape is defined every bit an enclosed area in two dimensions. By definition shapes are e'er apartment, but the combination of shapes, color, and other ways can make shapes announced three-dimensional, as forms. Shapes tin can be created in many ways, the simplest by enclosing an expanse with an outline. They can besides be made by surrounding an area with other shapes or the placement of different textures next to each other—for instance, the shape of an island surrounded by water. Because they are more complex than lines, shapes are usually more important in the organisation of compositions. The examples below give u.s.a. an idea of how shapes are made.

Geometric Shapes, 11 July 2012, Creator: Oliver Harrison. CC BY

Referring back to Velazquez'due south Las Meninas, information technology is fundamentally an arrangement 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 manner, we can view whatsoever work of art, whether two or three-dimensional, realistic, abstract or non-objective, in terms of shapes alone.

Geometric Shapes vs. Organic Shapes

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

three. Grade

Course is sometimes used to draw a shape that has an implied third dimension. In other words, an creative person may attempt to make parts of a flat epitome appear three-dimensional. Observe in the drawing below how the artist makes the different shapes appear three-dimensional through the use of shading. It's a apartment image but appears three-dimensional.

This image is free of copyright restrictions.

When an paradigm is incredibly realistic in terms of its forms (as well equally colour, infinite, 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 epitome is in the public domain.

4. Space

Infinite is the empty expanse surrounding or between real or implied objects. Humans categorize space: at that place is outer space, that limitless void we enter beyond our sky; inner space, which resides in people'southward minds and imaginations, and personal space, the important but intangible area that surrounds each individual and which is violated if someone else gets too close. Pictorial infinite is flat, and the digital realm resides in net. Art responds to all of these kinds of space.

Many artists are as concerned with infinite in their works as they are with, say, colour or form. There are many ways for the artist to present ideas of space. Recall that many cultures traditionally use pictorial space as a window to view realistic subject area affair through, and through the discipline matter they present ideas, narratives and symbolic content. The innovation of linear perspective, an implied geometric pictorial construct dating from fifteenth-century Europe, affords the states the accurate illusion of three-dimensional space on a apartment surface, and appears to recede into the altitude through the employ of a horizon line and vanishing bespeak(s) . You can see how 1-point linear perspective is prepare in the examples below:

One-Signal Linear Perspective, 11 July 2012, Creator: Oliver Harrison. CC BY

One-point perspective occurs when the receding lines appear to converge at a unmarried point on the horizon and used when the flat front end of an object is facing the viewer. Note: Perspective can be used to testify the relative size and recession into space of whatsoever object, merely is nearly effective with hard-edged three-dimensional objects such as buildings.

A classic Renaissance artwork using i point perspective is Leonardo da Vinci's The Final Supper from 1498. Da Vinci composes the piece of work past locating the vanishing point direct behind the head of Christ, thus cartoon the viewer's attending to the eye. His arms mirror the receding wall lines, and, if we follow them as lines, would converge at the same vanishing indicate.

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

Two-signal perspective occurs when the vertical edge of a cube is facing the viewer, exposing two sides that recede into the distance, i to each vanishing indicate.

Two-Signal Perspective, xi July 2012, Creator: Oliver Harrison. CC BY

View Gustave Caillebotte's Paris Street, Rainy Weather from 1877 to run into how two-point perspective is used to give an accurate view to an urban scene.  The artist's composition, withal, is more than complex than just his use of perspective. The figures are deliberately placed to straight the viewer's heart from the front right of the motion picture to the building's forepart edge on the left, which, like a transport'due south 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 middle to arrest our gaze from going correct out the back of the painting. Caillebotte includes the little metallic arm at the top right of the post to directly us over again forth a horizontal path, now keeping u.s.a. from traveling off the pinnacle of the canvas. As relatively spare as the left side of the work is, the artist crams the right side with hard-edged and organic shapes and forms in a complex play of positive and negative space.

The perspective system is a cultural convention well suited to a traditional western European idea of the "truth," that is, an accurate, clear rendition of observed reality. Even after the invention of linear perspective, many cultures traditionally utilize a flatter pictorial space, relying on overlapping, size differences, or vertical placementof components in a two-dimensional piece of work of art. Examine the miniature painting of the Third Court of the Topkapi Palacefrom fourteenth-century Turkey to contrast its pictorial space with that of linear perspective. It'due south composed from a number of dissimilar vantage points (as opposed to vanishing points), all very flat to the picture plane. While the overall image is seen from above, the figures and trees appear as cutouts, seeming to float in mid air. Notice the towers on the far left and right are sideways to the picture plane. The trees and people occupying the upper parts of the image are meant to exist perceived as further from the viewer as compared to those trees, buildings and people located virtually the bottom of the painting. This is an example of vertical placement.

Equally "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 BY-SA

After nearly v hundred years using linear perspective, western ideas about how space is depicted accurately in ii dimensions went through a revolution at the beginning of the xx^th century. A immature Spanish artist, Pablo Picasso, moved to Paris, then western civilisation'south capital of art, and largely reinvented pictorial infinite with the invention of Cubism, ushered in dramatically by his painting Les Demoiselles d'Avignon in 1907. He was influenced in part past the chiseled forms, angular surfaces and disproportion of African sculpture (refer back to the Male Figurefrom Cameroon) and mask-like faces of early Iberian artworks. For more data about this of import painting, listen to the following question and answer.

In the early 20th century, Picasso, his friend Georges Braque and a handful of other artists struggled to develop a new space that relied on, ironically, the flatness of the film plane to carry and animate traditional bailiwick matter including figures, still life and landscape. Cubist pictures, and somewhen sculptures, became amalgams of dissimilar points of view, light sources and planar constructs. It was equally if they were presenting their subject area matter in many means at once, all the while shifting foreground, middle basis and background then the viewer is non sure where one starts and the other ends. In an interview, the artist explained cubism this style: "The trouble is at present to pass, to go effectually the object, and give a plastic expression to the event. All of this is my struggle to break with the 2-dimensional attribute*"(from Alexander Liberman, An Creative person 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 forcefulness 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 i'due south discussion of 'abstraction'.

You lot can see the radical changes cubism made in George Braque'south landscape La Roche Guyonfrom 1909. The trees, houses, castle and surrounding rocks contain virtually a single complex form, stair-stepping upward the sail to mimic the distant hill at the meridian, all of information technology struggling upward and leaning to the right inside a shallow pictorial space.

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

As the cubist mode developed, its forms became even flatter. Juan Gris's The Sunblindfrom 1914 splays the still life it represents across the canvas.  Collage elements like newspaper reinforce pictorial flatness.

Juan Gris, The Sunblind, 1914. Gouache, collage, chalk, and charcoal on sail. Tate Gallery, London. Paradigm licensed nether GNU Free Documentation License

Information technology's non so difficult to sympathize the importance of this new idea of space when placed in the context of comparable advances in science surrounding the plough of the nineteenth century. The Wright Brothers took to the air with powered flying in 1903, the aforementioned twelvemonth Marie Curie won the first of 2 Nobel prizes for her pioneering work in radiation. Sigmund Freud's new ideas on the inner spaces of the mind and its effect on beliefs were published in 1902, and Albert Einstein's calculations on relativity, the idea that infinite and time are intertwined, first appeared in 1905. Each of these discoveries added to human understanding and realligned the manner we look at ourselves and our world. Indeed, Picasso, speaking of his struggle to define cubism, said "Even Einstein did not know it either! The condition of discovery is outside ourselves; but the terrifying affair is that despite all this, we can only find what we know" (from Picasso on Art, A Pick of Views past Dore Ashton, (Souchere, 1960, page fifteen).

Three-dimensional space doesn't undergo this fundamental transformation. Information technology remains a visual and actual 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 some other. The value scale, bounded on i stop by pure white and on the other by black, and in between a serial of progressively darker shades of grey, gives an artist the tools to brand these transformations. The value scale below shows the standard variations in tones. Values well-nigh the lighter end of the spectrum are termed high-keyed, those on the darker finish are low-keyed.

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

In 2 dimensions, the use of value gives a shape the illusion of course or mass and lends an entire limerick a sense of light and shadow. The two examples below evidence the effect value has on changing a shape to a course.

2nd Form, 11 July 2012, Creator: Oliver Harrison, CC BY

3D Form, eleven July 2012, Creator: Oliver Harrison, CC BY

This same technique brings to life what begins as a simple line drawing of a immature man'due south head in Michelangelo's Head of a Youth and a Correct Hand from 1508. Shading is created with line (refer to our discussion of line earlier in this module) or tones created with a pencil. Artists vary the tones by the corporeality of resistance they use between the pencil and the newspaper they're cartoon on. A drawing pencil's leads vary in hardness, each one giving a dissimilar tone than another. Washes of ink or color create values determined by the amount of water the medium is dissolved into.

The use of high contrast, placing lighter areas of value against much darker ones, creates a dramatic effect, while depression 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 dissimilarity palette to an already dramatic scene to increase 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 canvas. National Gallery of Italian Art, Rome. This piece of work is in the public domain

6. Color

Color is the well-nigh complex artistic element because of the combinations and variations inherent in its employ.  Humans respond to color combinations differently, and artists study and use colour in function to give desired direction to their work.

Color is fundamental to many forms of art. Its relevance, apply and function in a given work depend on the medium of that work. While some concepts dealing with color are broadly applicative across media, others are not.

The full spectrum of colors is independent in white light. Humans perceive colors from the low-cal reflected off objects. A crimson object, for example, looks red because it reflects the carmine function of the spectrum. It would be a different color under a different light. Color theory beginning appeared in the 17^th century when English language mathematician and scientist Sir Isaac Newton discovered that white low-cal could be divided into a spectrum by passing information technology through a prism.

The study of colour in art and design often starts with color theory. Colour theory splits upwards colors into three categories: main, secondary, and tertiary.

The basic tool used is a color wheel, developed by Isaac Newton in 1666. A more than complex model known every bit the colour tree, created past Albert Munsell, shows the spectrum made upwardly of sets of tints and shades on connected planes.

At that place are a number of approaches to organizing colors into meaningful relationships. Most systems differ in construction only.

Traditional Model

Traditional color theory is a qualitative try to organize colors and their relationships. It is based on Newton's color wheel, and continues to be the most common arrangement used by artists.

Bluish Yellowish Red Color Wheel. Released under the GNU Free Documentation License

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

• The primary colors are carmine, blueish, and yellow. You detect 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 ruby and yellow), green (mix of bluish and yellow), and violet (mix of blue and ruby).
• The tertiary colors are obtained by mixing one main color and one secondary colour. Depending on corporeality of color used, different hues can be obtained such as cerise-orange or yellow-light-green. Neutral colors (browns and grays) tin be mixed using the three primary colors together.
• White and blackness prevarication outside of these categories. They are used to lighten or darken a color. A lighter colour (made by adding white to it) is called a tint , while a darker colour (fabricated by calculation blackness) is chosen a shade .

Color Mixing

Think about colour every bit the outcome of light reflecting off a surface. Understood in this way, color can exist represented as a ratio of amounts of principal colour mixed together. Color is produced when parts of the external lite source's spectrum are absorbed past the fabric and not reflected back to the viewer'south eye. For example, a painter brushes blue paint onto a sheet. The chemical composition of the paint allows all of the colors in the spectrum to exist absorbed except blue, which is reflected from the pigment'southward surface.  Common applications of subtractive color theory are used in the visual arts, color printing and processing photographic positives and negatives.

• The primary colors are red, yellow, and blue.
• The secondary colors are orange, green and violet.
• The 3rd colors are created past mixing a primary with a secondary color.
• Blackness is mixed using the 3 primary colors, while white represents the absence of all colors. Notation: considering of impurities in subtractive color, a true black is impossible to create through the mixture of primaries. Because of this the outcome is closer to brown. Similar to condiment color theory, lightness and darkness of a color is determined past its intensity and density.

Subtractive Color Mixing. Released under the GNU Costless Documentation License

Colour Attributes

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

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

Color Interactions

Beyond creating a mixing bureaucracy, colour 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 reward of using a monochromatic colour scheme is that y'all get a loftier level of unity throughout the artwork because all the tones relate to one another. Come across this in Mark Tansey'southward Derrida Queries de Man from 1990.

Coordinating Color

Coordinating colors are similar to ane another. As their proper name implies, coordinating colors tin can be found next to ane another on any 12-office color cycle:

Analogous Color, eleven July 2012, Creator: Oliver Harrison. CC Past

Y'all can come across the effect of coordinating colors in Paul Cezanne'due south oil painting Auvers Panoromic View

Color Temperature

Colors are perceived to have temperatures associated with them. The color bicycle is divided into warm and cool colors. Warm colors range from xanthous to red, while cool colors range from yellow-green to violet.  You can attain circuitous results using just a few colors when you pair them in warm and absurd sets.

Warm absurd color, eleven July 2012, Creator: Oliver Harrison. CC BY

Complementary Colors

Complementary colors are found directly opposite one some other on a colour bicycle. Here are some examples:

• majestic and xanthous
• dark-green and red
• orange and blue

Complementary Color, eleven July 2012, Creator: Oliver Harrison. CC BY

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

7. Texture

At the most bones level, Three-dimensional works of fine art (sculpture, pottery, textiles, metalwork, etc.) and architecture accept actual texture which is often adamant past the material that was used to create it: forest, stone, statuary, clay, etc. Two-dimensional works of art like paintings, drawings, and prints may try to prove unsaid texture through the use of lines, colors, or other ways. When a painting has a lot of actual texture from the application of thick paint, we phone call that impasto.

The first image below is a sculpture, and like all 3-dimensional objects it has actual texture.

The adjacent 2 images are details from the painting The Arnolfini Portrait by January van Eyck. Here, the artist has created implied texture. If you were to bear on this painting you would not feel the textile of the clothing and carpet, the wooden floor or the smooth metal of the chandelier, only 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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