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THE SEVEN ELEMENTS OF ART BY REBECCA MCCUSKER
LINE Line is everywhere. It’s found on the edge of a coffee table, the bare tree branches, and on the wings of a duck. Line is often considered the most basic element of design, but it can have a very powerful effect on the viewer. Consider line in two ways: the linear marks made by a pen or paintbrush, or the edge created when two shapes meet. Line is a powerful tool for conveying feelings, and how it is used speaks volumes about the mastery and style of the designer. Thick lines denote feelings of strength and boldness, whereas thin line denote fragility. There are perhaps a million ways to use line that influence the mood in design. Expert use of line provides other elements of design, such as texture, space and value. For example, working many lines together, achieving pattern and depth will create texture, where as wavy, swirly lines are used to denote energy and vitality. Perhaps one of the most important aspects of line is that it draws the viewer’s eye to a point of focus. According to Gestalt Theory, there are profound psychological merits to this. Using line to direct the eye, create paths, and re-enforce perspective, can prevent a chaotic and confusing viewing experience. When line leads the eye to a significant point of interest, the viewer experiences closure, making your creative work complete and memorable. ~
SHAPE There are three main kinds of shapes. Geometric shapes are generally symmetrical and structured, and can be explained mathematically. These shapes are easy for viewers to remember and understand because they are what we learned as children: squares, circles, rectangles, and other simple shapes. Second, we have Natural Shapes. As the name suggests, these shapes are often found in nature, but not always. Spilled milk creates a natural shape on a table. A green patch of moss on a tree is a natural shape. So is a leaf. These shapes are often irregular and fluid. Third, we have the Abstract Shapes, which are simplified versions of natural shapes. The shape on a woman’s restroom door, for example, simplifies the natural shape of a woman wearing a dress so that it can be immediately recognized on a sign. Abstract Shapes are often used for logos and other symbols. ~
SPACE We live in a three-dimensional world where objects look close or far away. Every space we experience throughout our lives has a sense of depth to it, whether it’s a tiny bathroom or looking out at a mountain landscape. Space is the area provided for a particular purpose in a creative work.. Space can make a viewer feel cramped or open, depending on how the designer uses elements within the space. The size of elements within a space is a good way to convey depth. Usually, when an element is smaller, it looks farther away, and when an element is bigger, it looks closer. Look across the room in which you are sitting right now. A pillow close to you might look huge, while a window far away looks smaller. Likewise, overlapping shapes adds depth and makes the space feel more crowded. Positive and negative space (sometimes referred to as “white space”) refers to the space between visual elements, or the part of the design that “isn’t there”. Negative Space is often used as background. The use of negative space versus positive space can be used to create great tension or visual interest with in a creative space. The white space makes the darker spaces pop out at the viewer and also creates contrast. Space is comprised of length, width and height, which make for a three-dimensional feel. A picture of a room, for instance will show height in the walls, length in the floor and width in the space between the walls. In these ways, we can see that the elements added to a design can drastically change the sense of space that the viewer experiences. Take a room, for example. If all the elements in the room are strewn about, cluttered and messy, than the room will feel messy and cramped. If the elements in the room are neatly grouped together, the room will feel ordered and open. There are elements seldom as awe-inspiring as space. Whether a design is as spacious as open prairie, or as crowded as a city scene, the element of space can evoke great emotion in the viewer. ~
TEXTURE Most of us know that children touch everything. The textures of objects are so interesting to them that they must explore it with their hands. Texture in art and design can have the same effect for anyone, inviting the viewer to touch or imagine the texture in their minds. Texture refers to the surface quality of a shape. We often describe objects as rough, smooth, glossy, soft, etc. Texture can be tactile, or visual. Tactile texture, or physical texture, is that you can actually feel with your hand. You can run a finger across the bumpiness of built up paint or the roughness of shingles. Monet is famous for his use of tactile texture, which makes the water lilies look as if they are popping out subtly from the canvas. Visual texture is an illusion of physical texture. The viewer gains a clear impression in their minds of what the surface might feel like, based on the materials used in the piece. Variation in texture can make a design or work of art more interesting. If the creative work had the same texture throughout, it could be perceived as boring and predictable, but if relief is given from a texture, than the work will have more impact. So if you are not used to touchy-feely stuff, try playing around with various textures in your home such as incorporating a wicker chair or embellished wooden furniture. Invite the viewer to feel your art or designs with their imaginations, to want to explore it just like a child. ~
COLOR If you flip though a color deck, you’ll notice names like “Bold Brick”, “Invigorate” and “Spa”. There is even a bright green that Sherman William’s Paints named, “Center Stage”. These names are onto something. Color is a powerful thing that drastically changes the mood and attitude of a space. It is even proven that the color red can increase appetite, blue aids memory, and yellow can bring out anxiety. Warm colors are stimulating, and cool colors are restful. How spicy and eclectic do these orange and green pillows make you feel? How different would they seem if they were a different color? As far as décor is concerned, dark colors can make a room look smaller and more closed in. If you paint a large, white room dark purple, the room will look smaller. Alternatively, light colors make a space look bigger. Coffee shops and other restaurants often paint their ceilings dark brown. Can you think why this is? Painting a ceiling a dark color makes the ceiling look lower, which makes people feel as if they are in an intimate space. On the 12-part color wheel, we have the primary colors, which are red, yellow and blue. Between the primary colors are the secondary colors, which are green, orange and violet. The tertiary colors fall between the primary and secondary colors, which is why we have crayons with the names “yellow orange” and “blue green”. Of course, colors can vary depending on how much black and white we add to them. “Tint” is created when white is added to a color, and “shade” is created when black is added. Complimentary colors are across from each other on the color wheel, and provide extreme contrast. Red and green, for example, are two colors that offer stark contrast to each other, as one is aggressive and “loud” while the other is calming and serene.
Discordant colors are far from each other on the color wheel, and when put together, can create an uncomfortable viewing experience. Discordant colors are sometimes used for advertising because they catch attention, but it is unlikely for a fine artist to use pink and green as a color scheme, because they simply don’t look good together. Nothing can enhance the space around us or change our mood quite like color. This versatile tool can either make a daring statement through contrast or create a feeling of tranquil harmony with subtle hues. Also, notice how colors change before your eyes with the time of day. Color is mood, and energy so use it wisely! ~
VALUE The contrast between light and dark is a powerful way to define the focal point in a space. Gestalt theory suggests that the eye is drawn to the places of highest contrast in a work of art because contrast lends emphasis to a subject regardless of the medium chosen. Value can also give us an illusion of depth. Seeing a gradient from light to dark can remind you of the deepening sea, or the changing a sky during a vibrant sunset. Value also pertains to colors. In the image above, the dark red at the left of the rose gives a sense of depth, and our gaze naturally scoops across the color gradient, making the rose very pleasing and interesting to look at. Lighter colors, like yellow, have more value. Darker colors, like purple, have lower value. The more light, the more value! And of course, the more contrast, the more attention it will receive. Value is valuable indeed. Whether the contrast will evoke deeply ingrained connotations or give a sense of depth, the use of value will most certainly demand attention. ~
FORM
Form is closely related to shape, except the main difference is that Form is three-dimensional, whereas shape is only two-dimensional. A square is a shape, but a cube is a form. A triangle is a shape, but a pyramid is a form. Add dimension or volume to a shape, and voila – you have a form! The five are... Cube, Sphere, Pyramid, Cylinder and Cone. Forms may also be free-flowing and organic. Think of a form that was created by nature. A flower is a free-flowing form, and so are you! You might not be a cone (let’s hope not), but you are a three-dimensional shape, making you a form. In order to experiment with Form, trying making our own petulant light out of a sculptural trashcan, by simply drilling a hole through the bottom. Spherical forms can add interest to a space by adding depth and volume. Form is always a good way to experience art slightly differently, by bringing the shapes right off the canvas and into your home! ~
LINE Line is everywhere. It’s found on the edge of a coffee table, the bare tree branches, and on the wings of a duck. Line is often considered the most basic element of design, but it can have a very powerful effect on the viewer. Consider line in two ways: the linear marks made by a pen or paintbrush, or the edge created when two shapes meet. Line is a powerful tool for conveying feelings, and how it is used speaks volumes about the mastery and style of the designer. Thick lines denote feelings of strength and boldness, whereas thin line denote fragility. There are perhaps a million ways to use line that influence the mood in design. Expert use of line provides other elements of design, such as texture, space and value. For example, working many lines together, achieving pattern and depth will create texture, where as wavy, swirly lines are used to denote energy and vitality. Perhaps one of the most important aspects of line is that it draws the viewer’s eye to a point of focus. According to Gestalt Theory, there are profound psychological merits to this. Using line to direct the eye, create paths, and re-enforce perspective, can prevent a chaotic and confusing viewing experience. When line leads the eye to a significant point of interest, the viewer experiences closure, making your creative work complete and memorable. ~
SHAPE There are three main kinds of shapes. Geometric shapes are generally symmetrical and structured, and can be explained mathematically. These shapes are easy for viewers to remember and understand because they are what we learned as children: squares, circles, rectangles, and other simple shapes. Second, we have Natural Shapes. As the name suggests, these shapes are often found in nature, but not always. Spilled milk creates a natural shape on a table. A green patch of moss on a tree is a natural shape. So is a leaf. These shapes are often irregular and fluid. Third, we have the Abstract Shapes, which are simplified versions of natural shapes. The shape on a woman’s restroom door, for example, simplifies the natural shape of a woman wearing a dress so that it can be immediately recognized on a sign. Abstract Shapes are often used for logos and other symbols. ~
SPACE We live in a three-dimensional world where objects look close or far away. Every space we experience throughout our lives has a sense of depth to it, whether it’s a tiny bathroom or looking out at a mountain landscape. Space is the area provided for a particular purpose in a creative work.. Space can make a viewer feel cramped or open, depending on how the designer uses elements within the space. The size of elements within a space is a good way to convey depth. Usually, when an element is smaller, it looks farther away, and when an element is bigger, it looks closer. Look across the room in which you are sitting right now. A pillow close to you might look huge, while a window far away looks smaller. Likewise, overlapping shapes adds depth and makes the space feel more crowded. Positive and negative space (sometimes referred to as “white space”) refers to the space between visual elements, or the part of the design that “isn’t there”. Negative Space is often used as background. The use of negative space versus positive space can be used to create great tension or visual interest with in a creative space. The white space makes the darker spaces pop out at the viewer and also creates contrast. Space is comprised of length, width and height, which make for a three-dimensional feel. A picture of a room, for instance will show height in the walls, length in the floor and width in the space between the walls. In these ways, we can see that the elements added to a design can drastically change the sense of space that the viewer experiences. Take a room, for example. If all the elements in the room are strewn about, cluttered and messy, than the room will feel messy and cramped. If the elements in the room are neatly grouped together, the room will feel ordered and open. There are elements seldom as awe-inspiring as space. Whether a design is as spacious as open prairie, or as crowded as a city scene, the element of space can evoke great emotion in the viewer. ~
TEXTURE Most of us know that children touch everything. The textures of objects are so interesting to them that they must explore it with their hands. Texture in art and design can have the same effect for anyone, inviting the viewer to touch or imagine the texture in their minds. Texture refers to the surface quality of a shape. We often describe objects as rough, smooth, glossy, soft, etc. Texture can be tactile, or visual. Tactile texture, or physical texture, is that you can actually feel with your hand. You can run a finger across the bumpiness of built up paint or the roughness of shingles. Monet is famous for his use of tactile texture, which makes the water lilies look as if they are popping out subtly from the canvas. Visual texture is an illusion of physical texture. The viewer gains a clear impression in their minds of what the surface might feel like, based on the materials used in the piece. Variation in texture can make a design or work of art more interesting. If the creative work had the same texture throughout, it could be perceived as boring and predictable, but if relief is given from a texture, than the work will have more impact. So if you are not used to touchy-feely stuff, try playing around with various textures in your home such as incorporating a wicker chair or embellished wooden furniture. Invite the viewer to feel your art or designs with their imaginations, to want to explore it just like a child. ~
COLOR If you flip though a color deck, you’ll notice names like “Bold Brick”, “Invigorate” and “Spa”. There is even a bright green that Sherman William’s Paints named, “Center Stage”. These names are onto something. Color is a powerful thing that drastically changes the mood and attitude of a space. It is even proven that the color red can increase appetite, blue aids memory, and yellow can bring out anxiety. Warm colors are stimulating, and cool colors are restful. How spicy and eclectic do these orange and green pillows make you feel? How different would they seem if they were a different color? As far as décor is concerned, dark colors can make a room look smaller and more closed in. If you paint a large, white room dark purple, the room will look smaller. Alternatively, light colors make a space look bigger. Coffee shops and other restaurants often paint their ceilings dark brown. Can you think why this is? Painting a ceiling a dark color makes the ceiling look lower, which makes people feel as if they are in an intimate space. On the 12-part color wheel, we have the primary colors, which are red, yellow and blue. Between the primary colors are the secondary colors, which are green, orange and violet. The tertiary colors fall between the primary and secondary colors, which is why we have crayons with the names “yellow orange” and “blue green”. Of course, colors can vary depending on how much black and white we add to them. “Tint” is created when white is added to a color, and “shade” is created when black is added. Complimentary colors are across from each other on the color wheel, and provide extreme contrast. Red and green, for example, are two colors that offer stark contrast to each other, as one is aggressive and “loud” while the other is calming and serene.
Discordant colors are far from each other on the color wheel, and when put together, can create an uncomfortable viewing experience. Discordant colors are sometimes used for advertising because they catch attention, but it is unlikely for a fine artist to use pink and green as a color scheme, because they simply don’t look good together. Nothing can enhance the space around us or change our mood quite like color. This versatile tool can either make a daring statement through contrast or create a feeling of tranquil harmony with subtle hues. Also, notice how colors change before your eyes with the time of day. Color is mood, and energy so use it wisely! ~
VALUE The contrast between light and dark is a powerful way to define the focal point in a space. Gestalt theory suggests that the eye is drawn to the places of highest contrast in a work of art because contrast lends emphasis to a subject regardless of the medium chosen. Value can also give us an illusion of depth. Seeing a gradient from light to dark can remind you of the deepening sea, or the changing a sky during a vibrant sunset. Value also pertains to colors. In the image above, the dark red at the left of the rose gives a sense of depth, and our gaze naturally scoops across the color gradient, making the rose very pleasing and interesting to look at. Lighter colors, like yellow, have more value. Darker colors, like purple, have lower value. The more light, the more value! And of course, the more contrast, the more attention it will receive. Value is valuable indeed. Whether the contrast will evoke deeply ingrained connotations or give a sense of depth, the use of value will most certainly demand attention. ~
FORM
Form is closely related to shape, except the main difference is that Form is three-dimensional, whereas shape is only two-dimensional. A square is a shape, but a cube is a form. A triangle is a shape, but a pyramid is a form. Add dimension or volume to a shape, and voila – you have a form! The five are... Cube, Sphere, Pyramid, Cylinder and Cone. Forms may also be free-flowing and organic. Think of a form that was created by nature. A flower is a free-flowing form, and so are you! You might not be a cone (let’s hope not), but you are a three-dimensional shape, making you a form. In order to experiment with Form, trying making our own petulant light out of a sculptural trashcan, by simply drilling a hole through the bottom. Spherical forms can add interest to a space by adding depth and volume. Form is always a good way to experience art slightly differently, by bringing the shapes right off the canvas and into your home! ~
