This document provides an overview of shape in art, including definitions and terminology. It begins by defining key shape vocabulary like actual, amorphous, biomorphic, cubism, curvilinear, decorative, equivocal space, geometric, implied, kinetic art, mass, nonrepresentational, objective, perspective, planar, plane, plastic, rectilinear, subjective, surrealism, two-dimensional, three-dimensional, and volume. It then discusses the introduction to shape, definition of shape, use of shapes, shape dimensions including two-dimensional and three-dimensional illusions, and the relationship between shape and design principles.

1. Art Fundamentals
Chapter 4
Shape

2. Art Fundamentals
Chapter 4
Shape
The Vocabulary of Shape
The Vocabulary of Shape
Introduction to Shape
The Definition of Shape
The Use of Shapes
Shape Dimensions
The illusions of two-dimensional shapes
The illusions of three-dimensional shapes
Shape and Principles of Design
Balance
Direction
Duration and relative dominance
Harmony and variety
Shapes and the space concept
Shape and Content

3. THE VOCABULARY OF
INTRODUCTORY TERMS
 Shape
 An area that stands out from
the space next to or around it
because of a defined or
implied boundary or
because of differences of
value, color, or texture.

4. THE VOCABULARY OF
INTRODUCTORY TERMS
 actual shape
 Clearly defined or positive
areas (as opposed to an
implied shape).

5. THE VOCABULARY OF
INTRODUCTORY TERMS
 amorphous shape
 A shape without clarity or
definition:
 formless,
 indistinct, and
 of uncertain dimension.

6. THE VOCABULARY OF
INTRODUCTORY TERMS
 biomorphic shape
 Irregular shape that
resembles the freely
developed curves found in
live organisms.

7. THE VOCABULARY OF
INTRODUCTORY TERMS
 Cubism
 The name given to the
painting style invented by
Pablo Picasso and
Georges Braque between
1907 and 1912, which used
multiple views of objects
to create the effect of their
three-dimensionality while
acknowledging the two-
dimensional surface of the
picture plane.

8. THE VOCABULARY OF
INTRODUCTORY TERMS
 Cubism
 Signaling the beginning
of abstract art, it is a
semiabstract style
that continued the
strong trend away from
representational art
initiated by Cezanne in
the late 1800s.

9. Artist: Pablo
Picasso
Artist's Lifespan:
1881-1973
Title: Three
Musicians
Date: 1921

10. THE VOCABULARY OF
INTRODUCTORY TERMS
 curvilinear
 Stressing the use of
curved lines, as
opposed to rectilinear,
which stresses straight
lines.

11. THE VOCABULARY OF
INTRODUCTORY TERMS
 decorative (shape)
 Ornamenting or
enriching but, more
importantly in art,
stressing the two-
dimensional nature of
an artwork or any of
its elements.
Decorative art
emphasizes the
essential flatness of a
surface.

12. THE VOCABULARY OF
INTRODUCTORY TERMS
 equivocal space
 A condition, usually
intentional on the artist's
part, in which the viewer
may, at different times,
see more than one set
of relationships
between art elements or
depicted objects. This
may be compared to the
familiar "optical illusion."

13. THE VOCABULARY OF
INTRODUCTORY TERMS
 geometric shape
 A shape that appears
related to geometry;
usually simple, such as
a triangle, rectangle,
or circle.

14. THE VOCABULARY OF
INTRODUCTORY TERMS
 implied shape
 A shape suggested or
created by the
psychological
connection of dots,
lines, areas, or their
edges, creating the
visual appearance of a
shape that does not
physically exist. (See
Gestalt.)

15. THE VOCABULARY OF
INTRODUCTORY TERMS
 Kinetic art
 From the Greek word
kinesis, meaning
"motion," art that
involves an element of
random or mechanical
movement.

17. Kinetic Art

18. Kinetic Art

19. Cube, Ann Arbor, Michigan
Cube, Ann Arbor, Michigan

20. Cube, Ann Arbor, Michigan
Cube, Ann Arbor, Michigan

21. Cube, Ann Arbor, Michigan

22. THE VOCABULARY OF
INTRODUCTORY TERMS
 mass
 I. In graphic art, a shape that
appears to stand out three-
dimensionally from the space
surrounding it or that appears to
create the illusion of a solid
body of material.
 2. In the plastic arts, the
physical bulk of a solid body of
material. (See plastic, three-
dimensional, and volume.)

23. THE VOCABULARY OF
INTRODUCTORY TERMS
 nonrepresentational art
 Defines work encompassing
nonrecognizable imagery.
This ranges from pure
abstraction (nonrecognizable
but derived from a recognizable
object) to nonobjective art (not
a product of the abstraction
process, but derived from the
artist's mind).

24. THE VOCABULARY OF
INTRODUCTORY TERMS
 objective (shape)
 A type of shape that is
based, as nearly as
possible, on physical
actuality or optical
perception. Such art
tends to appear natural
or real.

25. THE VOCABULARY OF
INTRODUCTORY TERMS
 perspective
 Any graphic system used to
create the illusion of three-
dimensional images and/or
spatial relationships on a
two-dimensional surface.

26. THE VOCABULARY OF
INTRODUCTORY TERMS
 planar (shape)
 Having to do with
planes.

27. THE VOCABULARY OF
INTRODUCTORY TERMS
 plane
 I. An area that is essentially
two- dimensional, having
height and width.
 2. flat or level surface.
 3. A two-dimension surface
having a positive extension
and spatial direction or
position.

28. THE VOCABULARY OF
INTRODUCTORY TERMS
 plastic (shape)
 I. The use of the elements of
shape to create the illusion
of the third dimension on a
two-dimensional surface.
 2. Three- dimensional art
forms, such as architecture,
sculpture, and ceramics.

29. THE VOCABULARY OF
INTRODUCTORY TERMS
 rectilinear shape
 A shape whose
boundaries usually
consist entirely of
straight lines.

30. THE VOCABULARY OF
INTRODUCTORY TERMS
 subjective (shape)
 That which is derived
from the mind,
reflecting a personal
viewpoint, bias, or
emotion.

31. THE VOCABULARY OF
INTRODUCTORY TERMS
 Surrealism
 A style of artistic expression,
influence by Freudian
psychology, that
emphasize; fantasy and
whose subjects are usually
experiences revealed by
the subconscious mind
through the use of automatic
techniques.

32. THE VOCABULARY OF
INTRODUCTORY TERMS
 Surrealism
 Originally literary
movement and an
outgrowth of
Dadaism,
Surrealism was
established by
literary manifesto
written in 1924.

33. THE VOCABULARY OF
INTRODUCTORY TERMS
 three-dimensional (shape)
 Possessing, or creating the
illusion of possessing, the
dimension of depth, as well
as the dimensions of height
and width.

34. THE VOCABULARY OF
INTRODUCTORY TERMS
 two-dimensional (shape)
 Possessing the dimensions
of height and width,
especially when considering
the flat surface or picture
plane.

35. THE VOCABULARY OF
INTRODUCTORY TERMS
 volume
 A measurable area of
defined or occupied
space.

36. Art Fundamentals
Chapter 4
Shape
Part 1
The Vocabulary of Shape
Introduction to Shape
The Definition of Shape
The Use of Shapes
Shape Dimensions
The illusions of two-dimensional shapes
The illusions of three-dimensional shapes
Shape and Principles of Design
Balance
Direction
Duration and relative dominance
Harmony and variety
Shapes and the space concept
Shape and Content

37. Introduction to Shape
 Artists start with
preliminary VISION.
 A SKETCH
 Lines  Shapes
 Shapes = Voids
 Shapes are the
building block of art
structure.

38. Introduction to Shape
 An art work is never
the real thing.
 The shapes
producing the image
are never real
animals, buildings,
people.

39. Introduction to Shape
 SEMIFANTASY.
 PUREFANTASY.
 Capable artists are
able to convince us
that fantasy is a
possible reality.

40. The Definition of Shape
 Line enclosing an area  Outline or Contour
 Even when we have few elements our minds
adjust to read a visible effect of shape.

41. The Definition of Shape
 We have an instinctive
need for order that
enables our minds to fill
in the parts that have
been left out.

42. The Definition of Shape
 Closure is not always an
absolutely necessary
condition for forming a
shape.

43. The Definition of Shape
 Gestalt Psychology
 Our minds tend to
“see” organized
wholes, or forms, as
a totality, before
they perceive the
individual parts
applied to human
visual perception.

44. The Definition of Shape
 Gestalt Psychology
 Our minds also tend
to insist on creating
shapes from
approximately
related elements.

48. The Definition of Shape
 Any visually
perceived area of
value, texture,
color, line, or any
combination of
these elements.

49. The Definition of Shape
 Pictorial forms of art 
Shapes are flat or 2-
dimensional
 3-dimensional forms of
art  sculpture,
architecture,
environmental design,
etc. solids or masses.
3-D
2-D

50. The Definition of Shape
 Actual shapes
 Implied shapes
 Amorphous shapes  vague
or delicate that their edges
cannot be determined with
any degree of exactitude.

51. The Definition of Shape
 Plastic arts are
more defined.
 Edges
 Outer contours

52. The Definition of Shape
 Objective vs Subjective forms

53. The Definition of Shape
 Geometric to Biomorphic

54. The Definition of Shape
 Implied to Amorphous

55. The Definition of Shape
 Size
 Position
 Balance
 Color
 Value
 Texture

56. The Definition of Shape
 Static
 Stable
 Active
 Lively
 Contract
 Expand

57. The Definition of Shape
 Nonrepresentational or
Nonobjective
 Natural objects generally
seem rounded.
 Organic shapes 
Biomorphic
 Irregular rounded shapes that
suggest life.

58. The Definition of Shape

59. The Definition of Shape
 Surrealism
 Freudian psychology
 Exploration of
subconscious
revelations; dreams

61. The Definition of Shape
 Rectilinear
 Strait-lined shapes 
geometric
 Standardized shapes
used in mathematics
 Cubism
 Reformulation of the
natural world

62. The Definition of Shape
 However shapes are
classified, each shape
or combination of
shapes can display a
particular personality
according to its
physical employment
and our responses to
it.

63. The Use of Shapes
 Artists use shapes for two fundamental
purposes:
1. Suggest a physical form they have seen or
imagined.
2. Give certain visual qualities or content to
a work of art.

64. The Use of Shapes
 Shapes in art can be used for the
following purposes:
1. To achieve order, harmony, and variety
2. To create the illusion of mass, volume, and
space on the surface of the picture plane.
3. To extend observer attention or interest
span.

65. The Use of Shapes
 Visual arts  Usually chronologically fixed
 Music, theater, and dance  Evolve in time
 TIME
 Kinetic forms
 Form of sculpture in motion

66. Shape Dimension - Two-Dimensional
 PLANE
 The picture plane
 Planar shape to represent the overall
image.

67. Shape Dimension - Two-Dimensional
 Decorative appearance
 Occupy space
 Depth  Size, color, value, texture.

68. Shape Dimension - Two-Dimensional
 Curvilinear
 Shallow effect
 Movement into
space
 Depth

69. Shape Dimension - Three-Dimensional
 MASS  The appearance of solid bodies.
 Volume  Void, occupies a certain amount
of measurable space.

70. Shape Dimension - Three-Dimensional
 Rocks and mountains are masses.

71. Shape Dimension - Three-Dimensional
 Holes and valleys are volumes.

72. Shape Dimension - Three-Dimensional
 The illusion of masses or volumes on the
picture plane is produced by arranging two
or more flat or curvilinear planes in relation
to one another.

73. Shape Dimension - Three-Dimensional

74. Shape Dimension - Three-Dimensional
 There is no limit to the number of shapes
that can be shown in three dimensions.
 Spheres
 Pyramids
 Hexagonal
 Ovoidal

75. Shape Dimension - Three-Dimensional
 Depth Illusion
 Appear to recede away from the spectator.
 Perspective

76. Shape Dimension - Three-Dimensional
 Equivocal space
 Now you see it and now you don’t
 Now you see it and now you see it another way
Front Back

77. Shape Dimension - Three-Dimensional

78.  To create order or unity
 To increase the viewers’ attention spans
 To alter shapes from their natural appearance
Shapes are building block or art structure.
Shape and Principles of Design

79.  Artists modify shapes until:
 The desired degree and type of balance is
achieved.
 The observer’s attention is controlled both in
terms of direction and duration.
 The appropriate ratio of harmony and variety
results.
 The space concept achieves consistency
throughout.
Shape and Principles of Design

80.  Shapes have different visual weights
depending on how they are used.
 Placing shapes of different sizes at varying
distances from the fulcrum can be controlled
to create a sense of balance or imbalance.
Shape and Principles of Design
1- Balance

81.  Dark value adds weight to a shape
Shape and Principles of Design
1- Balance

82.  Narrow line around reduces the shape’s
apparent weight
Shape and Principles of Design
1- Balance

83.  Factors controlling directional and tensional
force are:
 Placement
 Size
 Accents or emphasis
 General shape character
Shape and Principles of Design
1- Balance

84.  Generate visual forces that direct our eyes
 Shapes pointing in specific directions
 Aim edges to imply linkage with other edges
 Use of intuitive space
Shape and Principles of Design
2- Direction

86.  The direction of the eyes along these paths
should be rhythmic.
 The control of direction helps us to see things
in the proper sequence and according to the
degree of importance planned for them.
Shape and Principles of Design
2- Direction

88.  Pauses  Equal duration  Monotonous
 Organize pauses so that their lengths are
related to the importance of the sights to be
seen on the eye journey.
Shape and Principles of Design
3- Duration and Dominance

89.  The effect of shape’s
size can be further
modified by
manipulation of value,
location, color, or any
combination of these
elements.
Shape and Principles of Design
3- Duration and Dominance

90.  The degree of
dominance is
usually in direct
proportion to the
amount of visual
contrast.
Shape and Principles of Design
3- Duration and Dominance

91.  Harmony  all things seem to belong
together
 Repetition
 Likeness
 Share certain characteristics:
 Value
 Texture
 Color
Shape and Principles of Design
4- Harmony and Variety

92.  Variety  Enough difference must exist to
make for challenging viewing.
 Mostly flowing shapes and an angular shape
 Some difference is essential
 Excessive differences may be out of tune
 Repetitive shapes for harmony
 Contrasting shapes for variety
Shape and Principles of Design
4- Harmony and Variety

93.  Flat working surface
 A “WINDOW” where things appear to be
advancing or retreating.
Shape and Principles of Design
5- Shapes and Space Concept

94.  Shapes are often seen as planes.
 Shapes are seen in perspective
Shape and Principles of Design
5- Shapes and Space Concept

95.  The artist must be consistent with space
 Balancing the spatial forces
 2-D art  weights of the elements
 3-D art  thrusting and recession
 Size and position
 Values and colors
Shape and Principles of Design
5- Shapes and Space Concept

96.  Representational vs Nonrepresentational use
of shapes.
 1900s Abstraction
 1970’s and 1980’s Conceptual
 Conception and Imagination
Shape and Content

97. Shape and Content
 Artists go beyond literal copying and transform object
shapes into their personal style or language of form.

98. Examples
 Configuration changes
a shape’s content or
expressive meaning.

99. Shape and Content

100. Shape and Content

102. Art Fundamentals
Chapter 4
Shape
End