By Adding White to a Color to Make It Lighter, a New _________ of the Original Color Can Be Created.

i. Line

In that location are many dissimilar types of lines, all characterized past their length being greater than their width. Lines can exist 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 u.s.a. in our daily lives; telephone wires, tree branches, jet contrails and winding roads are just a few examples. Look at the photograph beneath to see how line is part of natural and constructed environments.

In this image of a lightning storm we can come across many different lines. Certainly the jagged, meandering lines of the lightning itself dominate the image, followed by the straight lines of the skyline structures and the coast line. At that place are more subtle lines also, like the lights along the buildings.  Lines are even implied by the reflections in the h2o.

The Nazca lines in the barren littoral plains of Republic of peru date to nearly 500 BCE were scratched into the rocky soil, depicting animals on an incredible scale, so big that they are best viewed from the air. Let'southward expect at how the different kinds of line are made.

Diego Velazquez's 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 (almost 10 feet square), painterly way of naturalism, lighting effects, and the enigmatic figures placed throughout the sheet–including the artist himself –is one of the nifty paintings in western art history. Permit's examine information technology (below) to uncover how Velazquez uses basic elements and principles of art to attain such a masterpiece.

Diego Velazquez, Las Meninas, 1656, oil on canvas, 125.2" x 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 bodily line, as are the motion-picture show frames in the background and the linear decorative elements on some of the figures' dresses. How many other actual lines tin y'all find in the painting?

Implied lines are those created by visually connecting ii or more areas together. The gaze to the Infanta Margarita—the blonde central figure in the limerick—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 nosotros have a sense of jagged unsaid line that keeps the lower part of the composition in motility, balanced confronting the darker, more than static upper areas of the painting. Implied lines tin also be created when 2 areas of different colors or tones come together. Tin can yous identify more implied lines in the painting? Where? Unsaid lines are found in three-dimensional artworks, as well. The sculpture of the Laocoon below, a figure from Greek and Roman mythology, is, along with his sons, being strangled past bounding main snakes sent past the goddess Athena every bit wrath against his warnings to the Trojans non to accept the Trojan horse. The sculpture sets unsaid lines in motion as the figures writhe in agony confronting the snakes.

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

Directly or classic lines provide structure to a limerick. They can be oriented to the horizontal, vertical, or diagonal axis of a surface. Straight lines are by nature visually stable, while still giving management to a composition. InLas Meninas, you lot can run into 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 minor horizontal lines created in the stair edges in the background help anchor the entire visual design of the painting. Vertical and horizontal straight lines provide the most stable compositions. Diagonal straight lines are normally more than visually dynamic, unstable, and tension-filled.

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

Expressive lines are curved, adding an organic, more dynamic graphic symbol to a work of art. Expressive lines are often rounded and follow undetermined paths. In Las Meninas y'all tin see them in the aprons on the girls' dresses and in the dog's folded hind leg and glaze design. 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 exist fabricated up of nothing simply expressive lines, shapes and forms.

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

There are other kinds of line that cover the characteristics of those above withal, 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 profile line is the simplest of these. They create a path around the border 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 ane management. 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 tin can be oriented in any direction. Multiple layers of crosshatch lines can requite rich and varied shading to objects by manipulating the pressure level of the drawing tool to create a big range of values.

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

Line quality is that sense of character embedded in the way a line presents itself. Certain lines have qualities that distinguish them from others. Hard-edged, jagged lines accept a staccato visual movement 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 dissimilar degrees.

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

Although line as a visual element more often than not plays a supporting office in visual art, there are wonderful examples in which line carries a strong cultural significance as the principal subject matter.

Calligraphic lines apply quickness and gesture, more akin to paint strokes, to imbue an artwork with a fluid, lyrical grapheme. To run into this unique line quality, wait upwardly the work of Chinese poet and artist Dong Qichang, dating from the Ming dynasty (1555-1637). A more geometric example from the Koran, created in the Standard arabic calligraphic style, dates from the 9^thursday century.

Both these examples bear witness how artists use line every bit both a form of writing and a visual fine art class. American creative person Marker Tobey (1890–1976) was influenced by Oriental calligraphy, adapting its form to the act of pure painting inside a modern abstract mode described as white writing.

2. Shape

A shape is defined every bit an enclosed area in two dimensions. Past definition shapes are always flat, merely the combination of shapes, color, and other ways can make shapes appear three-dimensional, equally forms. Shapes tin be created in many ways, the simplest past enclosing an expanse with an outline. They can also be fabricated by surrounding an expanse with other shapes or the placement of dissimilar textures side by side to each other—for instance, the shape of an island surrounded by h2o. Because they are more complex than lines, shapes are usually more important in the arrangement of compositions. The examples below give the states an idea of how shapes are made.

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

Referring back to Velazquez's Las Meninas, it is fundamentally an arrangement of shapes; organic and hard-edged, light, dark and mid-toned, that solidifies the composition within the larger shape of the sail. Looking at it this way, we can view any piece of work of art, whether 2 or three-dimensional, realistic, abstract or non-objective, in terms of shapes lone.

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 gratis form: the shape of a tree, face, monkey, cloud, etc.

3. Grade

Form is sometimes used to depict a shape that has an implied 3rd dimension. In other words, an artist may try to make parts of a flat epitome appear three-dimensional. Notice in the cartoon below how the artist makes the different shapes announced 3-dimensional through the use of shading. It's a flat image but appears iii-dimensional.

This prototype is free of copyright restrictions.

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

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

iv. Infinite

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

Many artists are equally concerned with space in their works as they are with, say, color or class. In that location are many means for the creative person to present ideas of space. Recollect that many cultures traditionally use pictorial infinite every bit a window to view realistic subject field affair through, and through the subject matter they present ideas, narratives and symbolic content. The innovation of linear perspective, an unsaid geometric pictorial construct dating from fifteenth-century Europe, affords united states the accurate illusion of three-dimensional space on a flat surface, and appears to recede into the altitude through the use of a horizon line and vanishing point(s) . You can see how one-indicate linear perspective is prepare up in the examples beneath:

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

One-bespeak perspective occurs when the receding lines announced to converge at a single indicate on the horizon and used when the apartment front of an object is facing the viewer. Note: Perspective can exist used to testify the relative size and recession into space of whatsoever object, but is most effective with difficult-edged three-dimensional objects such equally buildings.

A classic Renaissance artwork using i signal perspective is Leonardo da Vinci's The Last Supper from 1498. Da Vinci composes the work past locating the vanishing point directly behind the head of Christ, thus drawing the viewer's attention to the center. His arms mirror the receding wall lines, and, if we follow them equally lines, would converge at the aforementioned 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, 1 to each vanishing point.

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

View Gustave Caillebotte'southward Paris Street, Rainy Atmospheric condition from 1877 to run into how two-point perspective is used to requite an accurate view to an urban scene.  The artist's composition, all the same, is more circuitous than just his use of perspective. The figures are deliberately placed to direct the viewer'due south eye from the front correct of the film to the building'due south forepart border on the left, which, like a ship'due south bow, acts every bit a cleaver to plunge both sides toward the horizon. In the midst of this visual recession a lamp mail service stands firmly in the centre to arrest our gaze from going right out the back of the painting. Caillebotte includes the little metal arm at the summit correct of the post to direct us again along a horizontal path, now keeping us from traveling off the peak of the sail. As relatively spare equally 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 organisation is a cultural convention well suited to a traditional western European idea of the "truth," that is, an authentic, articulate 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 ii-dimensional work of fine art. Examine the miniature painting of the Tertiary Court of the Topkapi Palacefrom fourteenth-century Turkey to dissimilarity its pictorial space with that of linear perspective. It'southward equanimous from a number of different vantage points (as opposed to vanishing points), all very flat to the picture plane. While the overall prototype is seen from above, the figures and trees announced every bit cutouts, seeming to float in mid air. Notice the towers on the far left and correct are sideways to the picture aeroplane. The copse and people occupying the upper parts of the image are meant to be perceived every bit farther from the viewer as compared to those copse, buildings and people located near the lesser 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 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 20^thursday century. A young Spanish artist, Pablo Picasso, moved to Paris, then western civilization'due south majuscule of art, and largely reinvented pictorial space with the invention of Cubism, ushered in dramatically past his painting Les Demoiselles d'Avignon in 1907. He was influenced in role past the chiseled forms, angular surfaces and disproportion of African sculpture (refer dorsum to the Male Figurefrom Cameroon) and mask-like faces of early on Iberian artworks. For more than data nearly this important painting, heed 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 picture show plane to carry and animate traditional subject field matter including figures, still life and landscape. Cubist pictures, and eventually sculptures, became amalgams of different points of view, light sources and planar constructs. It was as if they were presenting their bailiwick thing in many ways at once, all the while shifting foreground, middle ground and background so the viewer is non sure where one starts and the other ends. In an interview, the artist explained cubism this style: "The trouble is now to pass, to go around the object, and give a plastic expression to the issue. All of this is my struggle to pause with the two-dimensional aspect*"(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 color – a driving force in the development of a modern fine art movement that based itself on the flatness of the film plane. Instead of a window to await into, the flat surface becomes a ground on which to construct formal arrangements of shapes, colors and compositions. For some other perspective on this idea, refer dorsum to module 1's word of 'brainchild'.

You lot tin can see the radical changes cubism fabricated in George Braque's landscape La Roche Guyonfrom 1909. The copse, houses, castle and surrounding rocks comprise virtually a unmarried complex form, stair-stepping upwardly the canvas to mimic the distant hill at the top, all of information technology struggling upwardly 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 even flatter. Juan Gris's The Sunblindfrom 1914 splays the still life it represents across the canvas.  Collage elements like paper reinforce pictorial flatness.

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

It'south non and then difficult 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 flying in 1903, the same year Marie Curie won the beginning of two Nobel prizes for her pioneering piece of work in radiations. Sigmund Freud's new ideas on the inner spaces of the mind and its effect on behavior were published in 1902, and Albert Einstein'due south calculations on relativity, the idea that space and fourth dimension are intertwined, start appeared in 1905. Each of these discoveries added to human understanding and realligned the way nosotros await at ourselves and our world. Indeed, Picasso, speaking of his struggle to define cubism, said "Even Einstein did not know it either! The status of discovery is outside ourselves; but the terrifying thing is that despite all this, we can simply detect what we know" (from Picasso on Fine art, A Selection of Views by Dore Ashton, (Souchere, 1960, folio fifteen).

Three-dimensional space doesn't undergo this fundamental transformation. It remains a visual and bodily human relationship betwixt 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, bounded on 1 stop by 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 brand these transformations. The value scale below shows the standard variations in tones. Values near the lighter end of the spectrum are termed loftier-keyed, those on the darker cease are depression-keyed.

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

In two dimensions, the use of value gives a shape the illusion of form or mass and lends an entire composition a sense of lite and shadow. The two examples below testify the effect value has on changing a shape to a form.

2d Form, eleven July 2012, Creator: Oliver Harrison, CC Past

3D Form, 11 July 2012, Creator: Oliver Harrison, CC BY

This same technique brings to life what begins equally a simple line cartoon of a young man's caput in Michelangelo's Head of a Youth and a Right Mitt from 1508. Shading is created with line (refer to our word of line earlier in this module) or tones created with a pencil. Artists vary the tones past the corporeality of resistance they utilise between the pencil and the paper they're drawing on. A drawing pencil'south leads vary in hardness, each one giving a different tone than another. Washes of ink or colour create values adamant by the amount of water the medium is dissolved into.

The use of high contrast, placing lighter areas of value confronting much darker ones, creates a dramatic effect, while low dissimilarity gives more subtle results. These differences in upshot are evident in 'Guiditta and Oloferne' by the Italian painter Caravaggio, and Robert Adams' photograph Untitled, Denver from 1970-74. Caravaggio uses a loftier 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 landscape surrounding the figure on the bicycle.

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

half dozen. Colour

Color is the nearly complex artistic element because of the combinations and variations inherent in its employ.  Humans respond to colour combinations differently, and artists report and utilize color in function to give desired direction to their work.

Color is fundamental to many forms of art. Its relevance, use and function in a given work depend on the medium of that piece of work. While some concepts dealing with color are broadly applicable across media, others are non.

The total spectrum of colors is contained in white low-cal. Humans perceive colors from the lite reflected off objects. A red object, for example, looks red because it reflects the red part of the spectrum. It would be a dissimilar colour under a unlike light. Colour theory first appeared in the 17^thursday century when English mathematician and scientist Sir Isaac Newton discovered that white low-cal could be divided into a spectrum past passing it through a prism.

The study of color in art and blueprint often starts with color theory. Color theory splits upward colors into 3 categories: master, secondary, and tertiary.

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

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

Traditional Model

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

Blue Yellow Cerise Color Wheel. Released under the GNU Free Documentation License

Traditional color theory uses the same principles as subtractive color mixing (come across below) but prefers different primary colors.

• The principal colors are cerise, blue, 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 three.
• The secondary colors are orange (mix of scarlet and xanthous), light-green (mix of blue and yellow), and violet (mix of bluish and red).
• The 3rd colors are obtained by mixing one principal color and one secondary colour. Depending on amount of color used, different hues can be obtained such as ruby-red-orange or yellow-green. Neutral colors (browns and grays) can be mixed using the 3 primary colors together.
• White and blackness lie exterior of these categories. They are used to lighten or darken a color. A lighter color (made by adding white to it) is called a tint , while a darker color (fabricated by calculation black) is called a shade .

Color Mixing

Recollect about color every bit the upshot of light reflecting off a surface. Understood in this fashion, color can be represented as a ratio of amounts of chief color mixed together. Color is produced when parts of the external light source'due south spectrum are absorbed past the fabric and not reflected back to the viewer'south eye. For example, a painter brushes blue paint onto a canvas. The chemic limerick of the paint allows all of the colors in the spectrum to be absorbed except blue, which is reflected from the paint'southward surface.  Common applications of subtractive colour theory are used in the visual arts, color printing and processing photographic positives and negatives.

• The primary colors are red, yellow, and bluish.
• The secondary colors are orange, green and violet.
• The 3rd colors are created past mixing a primary with a secondary color.
• Black is mixed using the three master colors, while white represents the absence of all colors. Note: because of impurities in subtractive colour, a true black is impossible to create through the mixture of primaries. Because of this the issue is closer to brown. Like to additive color theory, lightness and darkness of a color is adamant by its intensity and density.

Subtractive Colour Mixing. Released under the GNU Complimentary Documentation License

Colour Attributes

There are many attributes to color. Each one has an outcome on how we perceive it.

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

Colour Interactions

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

Monochrome

The simplest colour interaction is monochrome. This is the utilise of variations of a single hue. The advantage of using a monochromatic color scheme is that you lot get a high level of unity throughout the artwork because all the tones chronicle to 1 another. See this in Mark Tansey's Derrida Queries de Man from 1990.

Analogous Color

Analogous colors are like to i some other. As their name implies, analogous colors can exist found next to 1 another on any 12-part color wheel:

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

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

Colour 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 cherry, while cool colors range from yellow-green to violet.  Y'all can accomplish complex results using just a few colors when you lot pair them in warm and cool sets.

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

Complementary Colors

Complementary colors are found straight opposite i some other on a color bike. Here are some examples:

• majestic and yellow
• green and red
• orangish and bluish

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

Blue and orange are complements. When placed virtually 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 basic level, Three-dimensional works of fine art (sculpture, pottery, textiles, metalwork, etc.) and architecture have actual texture which is often determined past the material that was used to create it: wood, stone, bronze, clay, etc. Two-dimensional works of fine art similar paintings, drawings, and prints may try to show implied texture through the utilize of lines, colors, or other ways. When a painting has a lot of actual texture from the application of thick pigment, we call that impasto.

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

The adjacent two images are details from the painting The Arnolfini Portrait past Jan van Eyck. Here, the artist has created implied texture. If you lot were to touch this painting you would not feel the fabric of the habiliment and carpet, the wooden floor or the smooth metal of the chandelier, but our eyes "run into" the texture.

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

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