Cut and tear a few shapes from different colors of paper.White tempera paint (add water to thin like a wash).Emphasis – focal point where the eye is first drawn.Geometric shape – precise edges not found in nature.Organic shape – natural, found in nature.Shape – two-dimensional, flat enclosed area.To learn about different types of shapes – organic and geometric.He created this effect by adding a varying layer of white over the rest of the composition. He used hard edged geometric squares and rectangles as well as organic shapes with flowing, natural edges like those in the center of the image.Įmphasis on the two bright orange shapes creates a focal point.
2 TYPES OF SHAPES IN ART FULL
This painting is full of curved-edged horses but, where lances cross the picture at an angle, numerous unsettling, angular shapes are created.Abstract, Walter Hatke, Acrylic Paint, TSCPL permanent collectionĪbstract by Walter Hatke illustrates the use of different types of shapes in creating an artwork. Or consider the carefully-placed structures in Uccello’s beautiful but horrifying image of war, below. Take a look, for example, at Leonardo da Vinci’s “Lady with an Ermine” (reproduced at the top of this page), an image with an atmosphere of lyrical grace and poise and full of strongly-emphasised shapes. Of course, not all shapes quite fit into these simple categories. Gently rounded shapes are easily formed by the play of light and shadow on young faces (see Degas’ portrait of a child, above) and, whatever the subject, they can suggest tenderness and empathy.
These shapes tend to be: Angular Irregular Jagged Contain straight edgesĪbove: Pablo Picasso “Les Demoiselles D’Avignon”,1907 3)Violent, harsh shapes full of nervous energy The young lady projects a sense of unease and seems constrained by the presence of her father even though he was abroad when this was painted. Set at an angle against the blocky structure of her father’s chair, the more lyrical forms of Hélène’s hands and figure contrast with the rest of the room. Look at the square-edged mirror, the painting on the wall, piles of papers and perhaps even the Egyptian mummy case. The strength of character of the study’s owner, wealthy collector Henri Rouart, is suggested by the shapes of his belongings. Hélène Rouart looks somewhat out of place in her father’s study in the image above. …but look at the examples in the box, above, and note that rules are sometimes broken! These shapes may also suggest strength and reliability.Ībove: Edgar Degas “Hélène Rouart in her father’s study”, 1886-95, 161x120cm, oil on canvas The atmosphere in the foreground here is of flowing sensuality, though the long, lyrical shapes do not extend to the four cheeky, mischievous little satyrs in this picture. Look not only at the whole reclining form of Venus, but also at the sections of fabric about her waist and limbs. Meanwhile, clever draping of fabric creates similar shapes associated with the figure of Venus, goddess of love. Note how rotation through his torso and neck allows the creation of asymmetry and curves. The bodies and drapery of the two main figures in Botticelli’s “Venus and Mars “provide good examples of long, flowing shapes. Even the male figure of Mars, god of war, is made to look lyrical and sensuous here.
Let’s look further at how artists have used various types of shape for emotional effect.Ībove: Botticelli “Venus and Mars”, 1487-8, 70.6 x 176.8cm When looking at an image (either a full picture, or just a shape on the page) we react to: I originally read about this idea in “The art of responsive drawing”, an excellent guide to drawing and composition by Nathan Goldstein, and do recommend getting hold of this book if you’d like further ideas on the subject. Our innate emotional “understanding” of 2D shapes is perhaps even more profound than symbolic meanings assigned to them in different cultures.
Have you ever glimpsed a painting from a great distance, and understood something of the emotion conveyed by the artist even before discerning the full content of the picture? Along with tone and colour contrast, clear shapes within the image can help to convey this “emotional punch”. Shapes are essential to the character of each artistic image. Above: Leonardo da Vinci “Lady with an Ermine”
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