Harmony Through Use of One Color on Different Art Elements in Ceramics

Formal Elements of Art

Last calendar week, nosotros explored the Renaissance model of the painting equally a window on the earth. We illustrated this model with Vermeer's The Painter and His Model equally Klio: the painter at his easel composing his image of a model, all nested within curtained framework of the painting we are viewing. The distance separating usa from the painter invites united states of america to reflect on the artist's viewpoint, his tools and media, his composition, and our ain perception.

Most 300 years later, René Magritte toys with this notion of the painting as a window on the world. He paints a window looking out on a landscape. Centered in the pane is a canvas with an manifestly, transparent canvas. The image doubles a selected rectangle of the "natural" landscape, only as paintings are supposed to do. The representational technique appears to exist straightforward. And even so, we can't really exist sure. Is the tree actually in the landscape or did the painter add it from imagination? The painting raises questions about paintings, and also about The Human being Status. The championship invites us to think about the ambiguity of all human perceptions of the world around them. How much practise nosotros see and how much do we embellish?

Let'south take a step back and think about the dimensions of this model of painting. Traditional art is . The artifact of the painting produces an prototype of a visual subject area:

In this model, viewers' attention frequently focuses on the visual subject: what is it? How realistically is the "existent thing" depicted? Often, viewers feel impatience or annoyance when they can't tell what the subject area "is supposed to be" or if they feel the technique is awkward or inaccurate. When we focus on the field of study, textures of the medium recede. Paradoxically, we admire the brushwork and pigmentation because they vanish in a rich emulation of the object.

But not all art is . We've looked at geometrical designs on ancient pottery, , and architecture with linear designs. People come across beauty in such compositions without asking, what is it? Do we critique a paisley shirt if nosotros can't tell what its designs depict?

Clearly, something besides representation is at play in fine art. Nosotros could plough our attending away from its representational bureau and pay attending to the : the sheet, the paint, and the brushstrokes. We could look at colour and shape and pattern as values in themselves. Doing so, we begin to —to bring to the front of our attending—the of art.

Formal Elements of Art

We do not need theory to begin to perceive formal elements of images. Nosotros do so all the time. "I really beloved that wallpaper"—the colors, the abstract design. These are formal art elements:

The formal art elements form the basis of the language of art; they consist of eight visual parts: line, color, form and shape, value, texture, space, and movement.

The following bulleted listing condenses definition highlights from Credo articles on formal aspects of art and design.

• : one dimensional path of a point through infinite (article):
  • Descriptive lines  (drawn): including outlines, profile lines, and hatching lines
  • Implied lines  (suggested): including edges and lines of sight (the management in which figures in a composition are looking)
  • Direction and motion: generally, verticals, horizontals, and diagonals are directional lines, whereas zigzag and curved lines are movement lines.
• (article): a two-dimensional area defined by a clear border or outline and possessing only height and width
• (article): a three-dimensional shape or object. … Course has summit, width, and depth, and may be organic, such as a cloud, or geometric, such as a pyramid or cylinder. Organic forms suggest naturalism, while geometric forms convey artificiality.
  • : irregular forms suggesting natural contours—clouds, bushes
  • : artificial, i.e. homo constructions, such equally pure lines, curves, angles: pyramids, cones, cylinders, triangles, rectangles
• (article): surface quality or appearance; how the surface feels or … would feel.
  • : making something await every bit though it is crude,
  • : for example the surface being textured either considering of thickly applied pigment, or the addition of granular textile to the paint, such equally sand.
• (article): component of a limerick that implies or gives the awareness of activity or activity and appear dynamic instead of static
  • :  tricking the eye into seeing motion every bit used in op art.
  • Repetition: using a repeated shape as seen in some cubist works; and
  • :  relying on the viewer's knowledge of the subject matter to communicate the idea of movement – for instance, a viewer looking at a painting of a car chase will look the cars to be moving.
• (article): the relationship between tones (ranging from light to dark), and the degree of lightness or darkness of a colour; … a scale from white to black
  • Reflected lite: light that bounces off an object making it visible
  • Shading: a technique used to brand a form look solid
  • (Italian 'light–nighttime'): dramatic dissimilarity of light and night
  • Value every bit mood or feeling, representing a sure frame of mind or country.
• (article): the quality or wavelength of light emitted or reflected from an object.
  • :  the name of the color achieved by mixing pigments, adding colored elements (as in a mosaic) or the like
  • , the lightness and darkness of a colour
  •  or intensity:  brightness or dullness of a color
  • :   hues directly across from each other on the color bicycle.
  • Warm  (yellowish, red, orange)  versus Absurd  (violet, greenish, blue) colors

Obviously, artists attain these formal elements using media. Colour and Value are captured in a mosaic by tesserae and in painting  past pigments fixed in oil, tempera, or ink. Texture can be fake, but also embodied in media and technique: east.g. brushwork leaving daubs of pigment and allowing the texture of the canvas to show through.

: Blueprint Principles

Formal elements are furthermore composed—artistically combined— to form a design. Core aspects of design include the following (Pattern Principles):

• :  the "wholeness" of composition, … parts working together creating one total flick – a seamless composition
• Proximity or putting objects close to 1 another in the composition: … When objects are placed close together the viewer's center is forced to move from one object to the next inevitably taking in the entire composition
• Similarity: making things similar, as well creates a sense of wholeness. Using similar textures, colors, or shapes tends to visually connect the parts of a composition.
• Continuation: when vision is directed by a line (bodily or implied) that travels around the composition.
• Diversity and harmony: variety pertains to differences and diversity. … Harmony in art, as in music, is the agreeable blending of elements … in a perfect balance.
• Accent (or potency): the focal indicate of a composition, … highlighting an element in order to command the viewer's center and stress significance of objects.
  • : eyelines of figures in the work drawing our eyes to a subject area
  • Central location in a composition
• and movement: repeating an element creates a sense of motion, period, or activity. In fine art, rhythm can be felt as well as seen.
  • Repetition of the same element or of multiple elements in a blazon of pattern, [i]
  • Progressive repetition of an element, very minor to very large; dark to light.
• : equal distribution of visual weight or the placement of elements evenly.
  • :  balance of unlike elements, objects, or figures with equal visual weights: eastward.g. large open space balancing heavy, possibly nighttime zones
  • : residuum of the same elements on both sides of an implied central vertical or horizontal axis.

Whew! That's some listing. No, you are not beingness asked to memorize it. Nonetheless a few moments on these pages can sensitize your awareness of the artistry at work in artistic composition.

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[i] Does this notion of repeating a class in a pattern sound familiar? Information technology should. Information technology is the equivalent of scheme figures of speech in poesy and oratory: parallelism, anaphora, etc.

References

Academic fine art [Commodity]. (2004). In I. Chilvers (Ed.), The Oxford Lexicon of Fine art.  Oxford University Press.  http://www.oxfordreference.com.ezproxy.bethel.edu/view/10.1093/acref/9780199569922.001.0001/acref-9780199569922-eastward-1816.

Ingres, J. A. D. (c. 1812). Napoleon Bonaparte receiving the keys of Vienna at the Schloss Schönbrunn, 13th Nov. [Painting]. France: Château de Versailles. Wikimedia https://commons.wikimedia.org/wiki/File:Napoleon_en_de_sleutels_van_wenen.jpg.

Art elements [Article]. (2018). In Helicon (Ed.),The Hutchinson Unabridged Encyclopedia with Atlas and Conditions Guide. Abington, UK: Helicon.  http://ezproxy.bethel.edu/login?url=https://search.credoreference.com/content/entry/heliconhe/art_elements/0?institutionId=712.

David, J-L. (1784). The Oath of the Horatii [Painting]. Paris: muse du Louvre, ID ART147619. ARTstor https://library-artstor-org.ezproxy.bethel.edu/nugget/ARMNIG_10313257933.

Design principle [Article]. (2018). In Helicon (Ed.),The Hutchinson Unabridged Encyclopedia with Atlas and Conditions Guide. Abington, Uk: Helicon.  http://ezproxy.bethel.edu/login?url=https://search.credoreference.com/content/entry/heliconhe/design_principle/0?institutionId=712.

Class [Article]. (2018). In Helicon (Ed.),The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide. Abington, Uk: Helicon.  https://search-credoreference-com.ezproxy.bethel.edu/content/entry/heliconhe/form/4.

Line [Article]. (2018). In Helicon (Ed.),The Hutchinson Unabridged Encyclopedia with Atlas and Atmospheric condition Guide. Abington, Great britain: Helicon.  https://search-credoreference-com.ezproxy.bethel.edu/content/entry/heliconhe/line/0.

Design principle [Article]. (2018). In Helicon (Ed.),The Hutchinson Unabridged Encyclopedia with Atlas and Weather condition Guide. Abington, Great britain: Helicon.  http://ezproxy.bethel.edu/login?url=https://search.credoreference.com/content/entry/heliconhe/design_principle/0?institutionId=712.

Form [Article]. (2018). In Helicon (Ed.),The Hutchinson Entire Encyclopedia with Atlas and Weather Guide. Abington, U.k.: Helicon.  https://search-credoreference-com.ezproxy.bethel.edu/content/entry/heliconhe/form/iv.

Motion [Article]. (2018). In Helicon (Ed.),The Hutchinson Unabridged Encyclopedia with Atlas and Weather condition Guide. Abington, UK: Helicon.  https://search-credoreference-com.ezproxy.bethel.edu/content/entry/heliconhe/motion/1.

Raphael (2004). [Commodity]. In I. Chilvers (Ed.), The Oxford Dictionary of Fine art.  Oxford University Printing.  https://www.oxfordreference.com/view/ten.1093/acref/9780198604761.001.0001/acref-9780198604761-e-2890.

Shape [Article]. (2018). In Helicon (Ed.),  The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide. Abington, UK: Helicon.  https://search-credoreference-com.ezproxy.bethel.edu/content/entry/heliconhe/shape/2.

Texture [Commodity]. (2018). In Helicon (Ed.),The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide. Abington, U.k.: Helicon.  https://search-credoreference-com.ezproxy.bethel.edu/content/entry/heliconhe/texture/ane.

Vermeer, J. (1665-1666). The Painter and his Model as Klio [Painting]. Vienna, Austria: Kunsthistorisches Museum Vienna. ARTstor https://library-artstor-org.ezproxy.bethel.edu/asset/LESSING_ART_1039490406.

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Source: https://mlpp.pressbooks.pub/encounterswiththeartsartc150/chapter/formal-elements-art/

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