1. Line Shape Value Form Color Texture Space
Elements of Art
Line
Shape
Value
Form
Color
Texture
Space
Surprise
Time
Motion

2. Line Line is at once the simplest and most complex of the elements.
Line is one dimensional. It is measured mainly by length. If a line becomes wide enough to measure width, it becomes a shape.
“Composition with Red, Blue
And Yellow”, Piet Mondrian,
Oil on canvas, 1930

3. Expressive Qualities of Line
The expressive characteristics of a line may be perceived as delicate, tentative, assertive, elegant, forceful and even brutal.
“Lavender Mist
Number 1”, 1950
Jackson Pollock,
Oil On Canvas

4. Functions of Line
To suggest direction and movement- horizontal lines tend to communicate stability and calm, vertical lines suggest strength and authority (architecture), and diagonal lines tend to represent movement.
“Harriet Tubman Series, No. 4”,
Jacob Lawrence, Casein tempera on gessoed hard
board

5. Shape Shapes are two-dimensional.
Two types of shapes- organic (biomorphic) and geometric
Biomorphic shapes are natural- leaves, rivers, stones, mountains, sponges, animals
Geometric shapes are manmade, they are regular and predictable. Squares, trapezoid
Shapes are two-dimensional.
They are measured by length and width
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6. Form Forms refer to three-dimensional shapes. Form = SCULPTURE
Forms are measured by length, width and depth
This sculpture by David Smith is a good example of geometric forms.
“Cubi XVIII”, David Smith, polished stainless steel,
1964

7. The Guggenheim Museum in Bilbao, Spain, 1997 is an organic and geometric form.

8. Artists combining shape and form Click for link MARELA ZACARIAS
Cupolas, 2014
Wood, window screen, joint compound, polymer and acrylic paint
10 x 21 x 5.5 in (25.4 x x cm

9. Pigmented polyester resin on fiberglass
Mask II ( ), Ron Mueck,
Pigmented polyester resin on fiberglass
Squares with Two Circles (Monolith), Barbara Hepworth, 1963 (cast 1964). Brown with green patina. 124 x 65 x 30 in.

10. Value Value- is the relative lightness or darkness of an art element.
The value of a color is the lightness or darkness of that color’s surface.
Value is determined by the amount of light reflected by the surface.
Chiaroscuro- the gradual shifting from light to dark through a successive gradation of tones across a curved surface.
By using many gradations, objects portrayed on a flat surface can be given a rounded, three-dimensional appearance.

11. Chiaroscuro
“The Sleeping Gypsy”, 1897, Henri Rousseau
Oil onCanvas
Old Woman with a Candle
1661, Gerrit Dou Oil on oak, 31 x 23 cm

12. Color
Primary colors are red, yellow, and blue. They can not be produced by mixing two other colors together.
Secondary colors are violet, orange and green. They are created by mixing two primary colors together.
Local vs. Optical- Local color is the color that an object has in normal light
Optical color is the color produced by our visual perception. “Haystack at Sunset Near Giverny”, Claude Monet is a great example of optical color.

13. Haystacks (Effect of Snow and Sun),
Monet, 1891, oil on canvas
Haystack at Sunset Near Giverny”,
Claude Monet, 1891 “

14.  These artists were working with a color wheel developed in 1855 by Michel Chevreul ( ), a French scientist. Chevreul designed a 72-part color-wheel whose radii, in addition to the three primaries of red, yellow and blue, depict three secondary mixtures of orange, green and violet, as well as six further secondary mixtures. The resultant sectors were each subdivided into five zones and all radii were separated into 20 segments to accommodate the different brightness levels. Chevreul’s "chromatic diagram" greatly facilitated the study of complementary colors, which the impressionists employed in their work. 

15. Henri Matisse, Red Room, 1908, oil on canvas
Matisse’s most powerful innovations in color were carried out in his commissions for Sergei Shchukin, in the programmatic works Red Room, Dance and Music. Red Room was to become one of the turning points in the history of European art.”3 In this decorative panel series Matisse is testing color for its expressive potential, while pursuing a harmonious balance using pure color.

16. Texture
Actual texture- is tactile, it is more than just visual information. Texture can be rough, smooth, or something in between.
Think of the texture of glass versus a Triscuit cracker.
Visual texture- is the illusion of texture in artwork.
Trompe l’oeil (“fool the eye”) is a method of art that is intended to create a realistic illusion of texture and depth in a work of art.
Subversive texture- contradicts our past visual experience by using texture in a way that is unexpected.
“Object” by Meret Oppenheim is a good example of this.

17. `”Object” by Meret Oppenheim, fur covered cup, saucer, and spoon, 1936

18. Space- Negative and Positive
No subject exists in and of itself.
When nearby objects are placed in front of more distant objects they obscure part or all of the distant objects. When objects overlap this gives us a sense of perspective.
Perspective is a sense of depth (created as an illusion in art to give a sense of a three dimensional object on a two-dimensional picture plane)
Linear perspective is a mathematical system for organizing space in a convincing way.

19. Greg Payce, negative space
Positive shapes occupy positive space. The area around positive shapes, the background, is negative space. A solid piece of sculpture occupies space, and makes the space around it come to life. In fact, sculptors think of the entire composition, the interplay between solid and space, when they create a work of art. In this diagram, the negative shapes are as clear and distinct as the positive shapes.

20.  Radiance, Sukhi Barber, bronze,
This artist uses negative space
to depict spiritual energy

21. Time and Motion
Actual motion is live movement. A work of kinetic art like Alexander Calder’s mobiles actually moves when we see it in person.
Implied Motion and Time- is a non-moving image that shows movement through the attributes present in the image. Good examples of this are found in Bernini’s Apollo and Daphne and Dynamism of a Dog on a Leash
The Illusion of Motion is what we experience when we see a movie or series of shapes that note a passage of time. A movie is a series of still frames that do not contain actual motion, but when shown in a time sequence, create an illusion of motion.

22. Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Oil on Canvas

23. Calder’s Mobiles

24. Time
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Andy Goldsworthy's clay walls also explore the role time can take in creating
the artwork (rather than purely a process of transformative decay). The walls
are made smooth — as they dry cracks appear, created by the influence of time
and other undeterminable influences. (Image is Goldsworthy’s studio practice
from 2012)

25. Surprise Making or doing something unexpected, something no one has
Click for link an event of a thread, Ann Hamilton
Making or doing something unexpected, something no one has
ever seen before can make a BIG impact in the art world.