Art Theory
, Visual Analysis
Visual analysis involves discussing the elements of art and principles of design.
S hape
T one / T exture
L ine
F orm
S pace
C olour / C omposition
LINE
D: The horizontal line . . . Shape
F: . . . creates a calming effect
D: The shapes are organic because . . .
D: The vertical lines . . . F: . . . create a sense of free flowing
F: . . . create stability movement
D: Diagonal lines are evident . . . D: The shapes are geometric because . . .
F: . . . set up dynamic movement F: . . structure the work
D: The curved lines . . . D: The shapes are angular because . . .
F: . . . create constant, changing F: . . . make the work spatially active
movement
D: The shapes are curved because . . .
D: The bold lines are evident . . . F: . . . create sense of predictable order
F: . . . draw attention and create
emphasis D: The shapes are positive and negative
because . . .
D: The contour lines are evident . . . F: . . . define what is “looked at” and
F: . . . lead the eye around forms what is the ground
D: The implied lines can be seen . . .
F: . . . lead the eye through the work
,SPACE FORM
D: Deep space can be seen . . . D: The forms are organic because . . .
F: . . . creates the illusion of infinite space. F: . . . creates flowing movement in the work
D: Shallow or a box-like space can be seen . . . D: The forms are geometric because . . .
F: . . . creates an illusion of depth that is limited F: The geometric forms create structure
D: Flat space is evident in this work because . . . D: The forms are angular because . . .
F: . . . draws attention to the two-dimensionality F: . . . articulate / activate space in the work
of the artwork
D: The curved forms are . . .
D: Ambiguous space, where some areas of
space F: . . . create movement in the space
create the ilusion of depth while others D: Positive and negative shapes / forms can be
contradict it, is evident . . . seen . . .
F: . . . conflates flatness and the illusion of depth F: . . . simultaneously set up three-dimensionality
and a negative ground
COLOUR
D: Naturalistic colours can be seen . . .
F: . . . make the work correspond to reality
Tone
D: The use of light and shade (chiaroscuro)
D: Expressive colour can be seen . . .
is visible . . .
F: . . . heightens the emotional content
F: . . . creates a dramatic view of reality
D: Complimentary colours can be seen . . .
F: . . . make the work vibrant D: High contrast can be seen . . .
F: . . . a dramatic effect that draws
attention
D: Analagous colours can be seen . . .
F: . . . make the work harmonious and create unity
D: A gradual change of tone is evident . . .
F: . . . creates an effect of calmness
D: Warm and cool colours can be seen . . .
F: Warm colours appear to advance while cool colours
appear to recede D: Light tones are evident . . .
F: . . . evoke a positive emotion
D: Monochromatic colours can be seen . . .
F: . . . unify the work D: Dark tones can be seen . . .
F: . . . evoke sombre emotional content
D: Bright, exaggerated colours can be seen . . .
F: . . . make the subject of the work more dynamic.
D: Arbitrary colours can be seen . . .
F: . . . Depicted subjects are at a remove from
, TEXTURE
This is to do with the surface quality of something, the way something feels or looks
like it feels. It is an element of two-dimensional and three-dimensional designs and
is distinguished by its perceived visual and physical properties. Use of texture, along
with other elements of design, can convey a variety of messages and emotions.
Actual texture
Actual texture is a combination of how the painting looks, and how it feels on
being touched. It is associated both with the heavy buildup of paint, such as an
impasto effect, or the addition of materials. Many artists around the world use
different items and materials to create actual texture in their pieces, some create
textured pieces to be touched and experienced.
Simulated/visual texture
Simulated texture involves drawing the visual effect of texture without actually
adding it. For instance, a texture may be cooked to look like something other than
paint on a curve surface.
Abstract texture
Abstract texture does not directly represent the object it is connected with but the
concept of the object is translated in textural patterns.
Invented texture
a creative way of adding alternate materials to create an interesting texture. This
texture typically appears in abstract works, as they are entirely non-objective.
D: Visual texture that looks real but is an illusion evident . . .
F: . . . calls to mind tactile experiences
D: Real texture, where the artist has used specific material in the work, is evident . . .
F: . . . creates levels of reality
D: Invented texture is a fine pattern, like pointillism, that creates a shimmering surface evident . . .
F: . . . partially disrupts the illusion of reality
, Visual Analysis
Visual analysis involves discussing the elements of art and principles of design.
S hape
T one / T exture
L ine
F orm
S pace
C olour / C omposition
LINE
D: The horizontal line . . . Shape
F: . . . creates a calming effect
D: The shapes are organic because . . .
D: The vertical lines . . . F: . . . create a sense of free flowing
F: . . . create stability movement
D: Diagonal lines are evident . . . D: The shapes are geometric because . . .
F: . . . set up dynamic movement F: . . structure the work
D: The curved lines . . . D: The shapes are angular because . . .
F: . . . create constant, changing F: . . . make the work spatially active
movement
D: The shapes are curved because . . .
D: The bold lines are evident . . . F: . . . create sense of predictable order
F: . . . draw attention and create
emphasis D: The shapes are positive and negative
because . . .
D: The contour lines are evident . . . F: . . . define what is “looked at” and
F: . . . lead the eye around forms what is the ground
D: The implied lines can be seen . . .
F: . . . lead the eye through the work
,SPACE FORM
D: Deep space can be seen . . . D: The forms are organic because . . .
F: . . . creates the illusion of infinite space. F: . . . creates flowing movement in the work
D: Shallow or a box-like space can be seen . . . D: The forms are geometric because . . .
F: . . . creates an illusion of depth that is limited F: The geometric forms create structure
D: Flat space is evident in this work because . . . D: The forms are angular because . . .
F: . . . draws attention to the two-dimensionality F: . . . articulate / activate space in the work
of the artwork
D: The curved forms are . . .
D: Ambiguous space, where some areas of
space F: . . . create movement in the space
create the ilusion of depth while others D: Positive and negative shapes / forms can be
contradict it, is evident . . . seen . . .
F: . . . conflates flatness and the illusion of depth F: . . . simultaneously set up three-dimensionality
and a negative ground
COLOUR
D: Naturalistic colours can be seen . . .
F: . . . make the work correspond to reality
Tone
D: The use of light and shade (chiaroscuro)
D: Expressive colour can be seen . . .
is visible . . .
F: . . . heightens the emotional content
F: . . . creates a dramatic view of reality
D: Complimentary colours can be seen . . .
F: . . . make the work vibrant D: High contrast can be seen . . .
F: . . . a dramatic effect that draws
attention
D: Analagous colours can be seen . . .
F: . . . make the work harmonious and create unity
D: A gradual change of tone is evident . . .
F: . . . creates an effect of calmness
D: Warm and cool colours can be seen . . .
F: Warm colours appear to advance while cool colours
appear to recede D: Light tones are evident . . .
F: . . . evoke a positive emotion
D: Monochromatic colours can be seen . . .
F: . . . unify the work D: Dark tones can be seen . . .
F: . . . evoke sombre emotional content
D: Bright, exaggerated colours can be seen . . .
F: . . . make the subject of the work more dynamic.
D: Arbitrary colours can be seen . . .
F: . . . Depicted subjects are at a remove from
, TEXTURE
This is to do with the surface quality of something, the way something feels or looks
like it feels. It is an element of two-dimensional and three-dimensional designs and
is distinguished by its perceived visual and physical properties. Use of texture, along
with other elements of design, can convey a variety of messages and emotions.
Actual texture
Actual texture is a combination of how the painting looks, and how it feels on
being touched. It is associated both with the heavy buildup of paint, such as an
impasto effect, or the addition of materials. Many artists around the world use
different items and materials to create actual texture in their pieces, some create
textured pieces to be touched and experienced.
Simulated/visual texture
Simulated texture involves drawing the visual effect of texture without actually
adding it. For instance, a texture may be cooked to look like something other than
paint on a curve surface.
Abstract texture
Abstract texture does not directly represent the object it is connected with but the
concept of the object is translated in textural patterns.
Invented texture
a creative way of adding alternate materials to create an interesting texture. This
texture typically appears in abstract works, as they are entirely non-objective.
D: Visual texture that looks real but is an illusion evident . . .
F: . . . calls to mind tactile experiences
D: Real texture, where the artist has used specific material in the work, is evident . . .
F: . . . creates levels of reality
D: Invented texture is a fine pattern, like pointillism, that creates a shimmering surface evident . . .
F: . . . partially disrupts the illusion of reality
