Harmony Through Use of One Color on Differecnt Art Elements Ceramics

one. Line

There are many unlike types of lines, all characterized by their length existence greater than their width. Lines can exist static or dynamic depending on how the creative person chooses to use them. They aid determine the motility, direction and energy in a work of fine art. We meet line all around us in our daily lives; telephone wires, tree branches, jet contrails and winding roads are just a few examples.

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

Diego Velazquez'southward Las Meninas from 1656, ostensibly a portrait of the Infanta Margarita, the girl of King Philip IV and Queen Mariana of Spain, offers a sumptuous amount of artistic genius; its sheer size (virtually 10 feet square), painterly style of naturalism, lighting effects, and the enigmatic figures placed throughout the sheet–including the artist himself –is one of the corking paintings in western art history. Let's examine it (below) to uncover how Velazquez uses bones elements and principles of art to achieve such a masterpiece.

Diego Velazquez, Las Meninas, 1656, oil on canvass, 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 flick frames in the groundwork and the linear decorative elements on some of the figures' dresses. How many other actual lines tin you lot discover in the painting?

Implied lines are those created by visually connecting two or more than 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. Implied lines can besides exist created when two areas of different colors or tones come together. Can you identify more implied lines in the painting? Where? Implied lines are found in three-dimensional artworks, likewise. The sculpture of the Laocoon below, a figure from Greek and Roman mythology, is, along with his sons, being strangled past sea snakes sent by the goddess Athena every bit wrath against his warnings to the Trojans not to accept the Trojan horse. The sculpture sets implied lines in movement every bit the figures writhe in agony against the snakes.

Laocoon Group, Roman copy of Greek original, Vatican Museum, Rome. Photograph by Marie-Lan Nguyen. CC BY-SA

Straight or archetype lines provide structure to a composition. They tin can be 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, you can run across them in the sail 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 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 than visually dynamic, unstable, and tension-filled.

Straight lines, 11 July 2012, Creator: Oliver Harrison. CC By

Expressive lines are curved, adding an organic, more dynamic grapheme to a piece of 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's folded hind leg and coat pattern. Wait once more at the Laocoon to run into expressive lines in the figures' flailing limbs and the sinuous class of the snakes. Indeed, the sculpture seems to be made up of cypher merely expressive lines, shapes and forms.

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

There are other kinds of line that encompass the characteristics of those above yet, taken together, assistance 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 generally one direction. They give shading and visual texture to the surface of an object.

Hatch, xi July 2012, Creator: Oliver Harrison. CC By

Crosshatch lines provide boosted tone and texture. They tin can be oriented in any management. Multiple layers of crosshatch lines can give rich and varied shading to objects by manipulating the pressure of the drawing tool to create a large range of values.

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

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

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

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

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

Both these examples evidence how artists use line as both a form of writing and a visual art form. American artist Mark Tobey (1890–1976) was influenced by Oriental calligraphy, adapting its form to the act of pure painting inside a mod abstruse manner described as white writing.

2. Shape

A shape is defined as an enclosed area in two dimensions. By definition shapes are always apartment, simply the combination of shapes, color, and other means tin make shapes appear three-dimensional, as forms. Shapes can be created in many ways, the simplest past enclosing an area with an outline. They tin can also be made by surrounding an area with other shapes or the placement of unlike textures next to each other—for instance, the shape of an island surrounded past water. Because they are more complex than lines, shapes are ordinarily more of import in the organization of compositions. The examples below give united states an idea of how shapes are made.

Referring dorsum to Velazquez's Las Meninas, it is fundamentally an arrangement of shapes; organic and hard-edged, calorie-free, dark and mid-toned, that solidifies the limerick within the larger shape of the canvas. Looking at it this way, we can view any work of fine art, whether two or 3-dimensional, realistic, abstract or non-objective, in terms of shapes alone.

Geometric Shapes vs. Organic Shapes

Shapes can exist further categorized into geometric and organic. Examples of geometric shapes are the ones nosotros 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 class: the shape of a tree, face up, monkey, deject, etc.

3. Form

Grade is sometimes used to describe a shape that has an implied 3rd dimension. In other words, an artist may attempt to brand parts of a flat epitome announced three-dimensional. Detect in the drawing below how the artist makes the different shapes appear three-dimensional through the use of shading. It'southward a flat image simply appears 3-dimensional. Form is used to brand people, animals, trees, or anything appear 3-dimensional.

This prototype is complimentary of copyright restrictions.

When an prototype is incredibly realistic in terms of its forms (as well as color, space, etc.) such as this painting by Edwaert Collier, we call that trompe fifty'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 area surrounding or between real or unsaid objects. Humans categorize infinite: there is outer space, that limitless void we enter beyond our sky; inner space, which resides in people'south minds and imaginations, and personal space, the of import only intangible area that surrounds each private and which is violated if someone else gets as well close. Pictorial space is apartment, and the digital realm resides in cyberspace. Art responds to all of these kinds of space.

Many artists are as concerned with space in their works as they are with, say, color or form. There are many ways for the artist to present ideas of space. Remember that many cultures traditionally utilise pictorial space equally a window to view subject field matter through, and through the field of study matter 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 three-dimensional space on a flat surface, and appears to recede into the distance through the use of a horizon line and vanishing point(due south) . Y'all tin can meet how ane-point linear perspective is set in the examples below:

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

1-point perspective occurs when the receding lines appear to converge at a unmarried betoken on the horizon and used when the apartment forepart of an object is facing the viewer. Annotation: Perspective tin exist used to show the relative size and recession into space of any object, just is most effective with hard-edged three-dimensional objects such as buildings.

A archetype Renaissance artwork using one betoken perspective is Leonardo da Vinci's The Last Supper from 1498. Da Vinci composes the piece of work by locating the vanishing point direct behind the caput of Christ, thus drawing the viewer'south attending to the center. His arms mirror the receding wall lines, and, if nosotros follow them as lines, would converge at the same vanishing point.

Leonardo da Vinci, The Terminal Supper, 1498. Fresco. Santa Maria della Grazie. 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, one to each vanishing betoken.

2-Point Perspective, 11 July 2012, Creator: Oliver Harrison. CC BY

View Gustave Caillebotte'south Paris Street, Rainy Conditions from 1877 to see how two-point perspective is used to requite an accurate view to an urban scene.  The artist'south composition, still, is more circuitous than just his employ of perspective. The figures are deliberately placed to direct the viewer'south center from the front right of the flick to the building's front edge on the left, which, like a ship's bow, acts as a cleaver to plunge both sides toward the horizon. In the midst of this visual recession a lamp post stands firmly in the middle to arrest our gaze from going right out the back of the painting. Caillebotte includes the piffling metal arm at the height right of the mail service to straight u.s. once more along a horizontal path, now keeping u.s. from traveling off the top of the canvas. Every bit relatively spare as 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 space.

The perspective arrangement 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 subsequently the invention of linear perspective, many artists and cultures continued to utilise other ways to bear witness pictorial space, relying on overlapping, size differences (smaller=farther), vertical placement (lower=closer; college=further), aerial or atmospheric perspective (hazy, less detailed-further; articulate, well-baked, detailed=closer). THESE ARE Important!  Brand SURE Yous Sympathise WHAT THEY Mean.

Examine the miniature painting of the 3rd Court of the Topkapi Palacefrom fourteenth-century Turkey to contrast its pictorial space with that of linear perspective. It'southward equanimous from a number of different vantage points (every bit opposed to vanishing points), all very flat to the moving-picture show airplane. While the overall epitome is seen from above, the figures and trees appear as cutouts, seeming to float in mid air. Find the towers on the far left and right are sideways to the picture plane. The copse and people occupying the upper parts are meant to be perceived every bit farther 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.

As "incorrect" as information technology looks, the painting does requite 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

Subsequently nearly v 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 20^th century. A young Castilian artist, Pablo Picasso, moved to Paris, then western culture's capital letter 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 disproportion of African sculpture (refer back to the Male Effigyfrom Republic of cameroon) and mask-like faces of early Iberian artworks. For more information about this important 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 infinite that relied on, ironically, the flatness of the picture plane to acquit and animate traditional subject affair including figures, all the same life and mural. Cubist pictures, and somewhen sculptures, became amalgams of dissimilar points of view, calorie-free sources and planar constructs. It was every bit if they were presenting their subject field thing in many ways at once, all the while shifting foreground, middle ground and groundwork and then the viewer is not sure where i starts and the other ends. In an interview, the creative person explained cubism this way: "The trouble is now to pass, to get around the object, and give a plastic expression to the issue. All of this is my struggle to pause with the two-dimensional attribute*"(from Alexander Liberman, An Creative person in His Studio, 1960, page 113). Public and critical reaction to cubism was understandably negative, but the artists' experiments with spatial relationships reverberated with others and became – forth with new ways of using color – a driving force in the development of a mod art movement that based itself on the flatness of the picture plane. Instead of a window to wait into, the flat surface becomes a footing on which to construct formal arrangements of shapes, colors and compositions. For some other perspective on this thought, refer back to module one'south discussion of 'abstraction'.

Y'all tin can run across the radical changes cubism made in George Braque'due south landscape La Roche Guyonfrom 1909. The trees, houses, castle and surrounding rocks contain about a single circuitous form, stair-stepping upwards the canvas to mimic the distant hill at the peak, all of information technology struggling upwards 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 Creative Commons

As the cubist style developed, its forms became fifty-fifty flatter. Juan Gris's The Sunblindfrom 1914 splays the however life it represents beyond the canvas. Collage elements like paper reinforce pictorial flatness.

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

It's not so hard to understand the importance of this new idea of space 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 aforementioned year Marie Curie won the start of ii Nobel prizes for her pioneering work in radiation. Sigmund Freud's new ideas on the inner spaces of the mind and its issue on behavior were published in 1902, and Albert Einstein's calculations on relativity, the thought that space and time are intertwined, outset appeared in 1905. Each of these discoveries added to human understanding and realligned the style we await at ourselves and our world. Indeed, Picasso, speaking of his struggle to define cubism, said "Even Einstein did non know it either! The condition of discovery is outside ourselves; but the terrifying thing is that despite all this, we tin can only find what we know" (from Picasso on Art, A Pick of Views by Dore Ashton, (Souchere, 1960, page 15).

5. 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 one end past pure white and on the other past blackness, and in between a series of progressively darker shades of grey, gives an artist the tools to make 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 cease are low-keyed.

Value Scale, 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 unabridged limerick a sense of light and shadow. The 2 examples beneath prove the issue value has on irresolute a shape to a form.

2D Grade, xi July 2012, Creator: Oliver Harrison, CC BY

3D Course, eleven July 2012, Creator: Oliver Harrison, CC By

This same technique brings to life what begins as a uncomplicated line drawing of a immature human's head in Michelangelo's Head of a Youth and a Right 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 past the amount of resistance they use betwixt the pencil and the paper they're drawing on. A drawing pencil's leads vary in hardness, each one giving a different tone than another. Washes of ink or color create values adamant by the amount of water the medium is dissolved into.

The apply of high contrast, placing lighter areas of value confronting much darker ones, creates a dramatic issue, while depression contrast gives more than subtle results. These differences in effect are axiomatic in 'Guiditta and Oloferne' past the Italian painter Caravaggio, and Robert Adams' photograph Untitled, Denver from 1970-74. Caravaggio uses a high contrast palette to an already dramatic scene to increase the visual tension for the viewer, while Adams deliberately makes utilise of low contrast to underscore the drabness of the mural surrounding the figure on the cycle.

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

6. Color

Color is the most complex artistic element because of the combinations and variations inherent in its employ.  Humans respond to color combinations differently, and artists written report and apply colour in part to requite desired direction to their work.

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

The full spectrum of colors is contained in white light. Humans perceive colors from the lite reflected off objects. A red object, for instance, looks red because it reflects the cerise part of the spectrum. It would be a different color under a different lite. Color 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 by passing it through a prism.

The study of color in art and blueprint frequently starts with color theory. Color theory splits up colors into three categories: primary, secondary, and 3rd.

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

In that location are a number of approaches to organizing colors into meaningful relationships. Most systems differ in structure just.

Traditional Model

Traditional color theory is a qualitative effort 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 Yellow Cherry Colour Wheel. Released under the GNU Free Documentation License

Traditional color theory uses the aforementioned principles equally subtractive color mixing (come across below) but prefers different principal colors.

• The main colors are crimson, blueish, and yellow. Y'all find them equidistant from each other on the color wheel. These are the "elemental" colors; non produced past mixing any other colors, and all other colors are derived from some combination of these 3.
• The secondary colors are orange (mix of red and xanthous), green (mix of blue and yellow), and violet (mix of blue and cherry-red).
• The 3rd colors are obtained by mixing one main color and ane secondary color. Depending on amount of colour used, dissimilar hues can be obtained such equally ruddy-orange or xanthous-green. Neutral colors (browns and grays) can exist mixed using the three primary colors together.
• White and blackness lie outside of these categories. They are used to lighten or darken a color. A lighter color (made past adding white to it) is called a tint , while a darker color (made by adding black) is chosen a shade .

Color Mixing

Think about color as the issue of light reflecting off a surface. Understood in this fashion, color tin can be represented as a ratio of amounts of primary color mixed together. Color is produced when parts of the external light source's spectrum are absorbed past the textile and not reflected back to the viewer'due south centre. For case, a painter brushes blue pigment onto a canvas. The chemical composition of the paint allows all of the colors in the spectrum to be absorbed except bluish, which is reflected from the paint'due south surface.  Mutual applications of subtractive color theory are used in the visual arts, color printing and processing photographic positives and negatives.

• The principal colors are red, yellow, and blue.
• The secondary colors are orange, green and violet.
• The tertiary colors are created by mixing a chief with a secondary color.
• Black is mixed using the iii primary colors, while white represents the absenteeism of all colors. Note: considering of impurities in subtractive color, a truthful black is impossible to create through the mixture of primaries. Because of this the upshot is closer to brown. Like to condiment color theory, lightness and darkness of a colour is determined by its intensity and density.

Subtractive Colour Mixing. Released under the GNU Costless Documentation License

Color Attributes

There are many attributes to color. Each ane has an consequence on how nosotros perceive it.

• Hue refers to colour 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 make a difference in how it is perceived. A colour on a dark background will announced lighter, while that same color on a light background volition appear darker.
• Saturation refers to the purity and intensity of a color. The primaries are the most intense and pure, simply diminish as they are mixed to form other colors. The creation of tints and shades also diminish a color's saturation. Ii colors piece of work strongest together when they share the same intensity.

Color Interactions

Beyond creating a mixing hierarchy, colour theory besides provides tools for agreement how colors 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 color scheme is that you become a high level of unity throughout the artwork considering all the tones relate to ane another. See this in Mark Tansey's Derrida Queries de Homo from 1990.

Coordinating Color

Analogous colors are similar to one another. As their name implies, coordinating colors tin can be found adjacent to one some other on any 12-role color wheel:

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

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

Color Temperature

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

Warm cool color, 11 July 2012, Creator: Oliver Harrison. CC BY

Complementary Colors

Complementary colors are constitute directly opposite one another on a color wheel. Here are some examples:

• purple and xanthous
• dark-green and red
• orangish and blue

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

Blue and orangish are complements. When placed most each other, complements create a visual tension. This color scheme is desirable when a dramatic upshot is needed using merely 2 colors.

7. Texture

At the most basic level, 3-dimensional works of art (sculpture, pottery, textiles, metalwork, etc.) and architecture have bodily texture which is oft determined by the cloth that was used to create it: wood, stone, statuary, clay, etc. 2-dimensional works of art like paintings, drawings, and prints may endeavour to show implied texture through the use of lines, colors, or other means. When a painting has a lot of bodily texture from the application of thick paint, we call that impasto.

The showtime image below is a sculpture, and like all 3-dimensional objects information technology has actual texture.

The next two images are details from the painting The Arnolfini Portrait by Jan van Eyck. Here, the artist has created implied texture. If you were to touch this painting you would not feel the fabric of the clothing and carpet, the wooden flooring or the smoothen metallic of the chandelier, only our optics "see" the texture.

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

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