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BASIC ART TERMINOLOGY

You will notice that some of the examples have been left blank. Feel free
to colour these aspects in and treat them as class activities.

COLOUR THEORY:
Primary Colours
A primary colour is a pigment in its purest form, i.e. one cannot
create a primary colour by mixing other colours. These colours
are red, blue, yellow and white.

Secondary Colours
Secondary colours are colours that are created by mixing two
primary colours together. I.e. red and blue creates purple, blue
and yellow create green and red and yellow create orange.
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Complementary Colours
Complementary colours are colours that when next to each
other they set each other off or intensify one another.
Yellow and purple.

Red and green.

Blue and orange

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Cool Colours

Some colours remind us of things that are cold - as in icy grays

or soothing blues. These colours are called “cool”. Any hue may
be made cooler by adding white.

Warm Colours
Colours that remind us of heat, e.g. red remind one of fire.
Warm colours usually derive from red and yellow, however one
can make a hue warmer by making it darker.

Density
When colour is applied to surface, it can be in a manner that is
light, sketchy, and even transparent, or it can be with such
intensity as to appear solid or opaque. Density refers to the
quantity of light that seems to emerge from the colour.

Hue

A more specific technical term referring to the name of a given

colour, for example, blue is a hue.
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Shade

When black is added to a colour, in order to make it darker, the

resulting colour is referred to as a shade. (e.g., navy or
midnight- blue.)

Tint

When white is added to a colour in order to make that colour

lighter, we refer to that colour as a tint (e.g. light –blue or baby
blue)

THE COLOUR STAR

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THE COLOUR WHEEL

Tone
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Artists create tones primarily by choosing among many colours

as well as painting a range of shades and tints of a single colour.
They can paint in colours that can blend easily, (“tonal
equivalents’ or “similar tonalities”), or they can choose sharp
contrasts. Or they can do both.

Line
Vertical Lines - Lines that start at the top and end at the
bottom

Horizontal Lines - Lines that run side to side, e.g. the horizon
line

Diagonal line
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Organic line – These are lines

That are influenced by nature and
natural forms that are organic. They
are therefore curved and more flowing.

Contour

The outline or outer edge, of a shape or form. The contours of a

sculpture are round and soft if the sculpture depicts a human or
natural form, or sharp and angular if the sculpture is depicting a
geometric form.

Hatching, crosshatching

A series of parallel lines close together used in drawings or

prints as a means of darkening an area.
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Linear

Linear refers to aspects of art that have to do with lines. Linear

could also refer to an artwork that has many obvious lines.

Shape

A closed line that forms the outline of a mass. Shapes can be

organic, geometric, lyrical or recognizable.
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A Shape refers to a flat

Two- dimensional object
in Art.

Form

This refers to a
Three-dimensional object
in art.

Composition

The arrangement and layout of elements in an artwork- more or

less comparable to a skeleton-essential to the structure and
success of the artwork but invisible.
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Balance

Symmetrical Balance is when the composition is exactly the

same on both sides.

Asymmetrical Balance is when both sides of the composition

are totally different to one another.

Dynamic Equilibrium is a form of balance which is essentially

asymmetrical yet due to the size, shape, weight and colour on
either side of the composition it balances perfectly.
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Dynamism

Seeming to have energy or force; aspects of images that seem

to be in motion.

Harmony
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A term borrowed from music; it refers to a pleasing arrangement

of elements.

Pattern
The repetition of shapes, colour or line.

Rhythm
The repetition of lines or shapes that give the sense of
movement or energy.
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Viewpoint
Refers to the point of view from which the artist has chosen to
depict a scene. In a landscape or portrait, the viewer and the
artist view the subject from the same viewpoint. If the artwork is
a sculpture the three-dimensionality of the artwork allows for
multiple viewpoints as you are able to walk around the artwork.

Positive Space and Negative Space

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Positive space is the space occupied by the object; negative

space is therefore the space surrounding the object.

Positive Space Negative Space

Focal Point
This is the object or area in an artwork that attracts one’s eye
first, or rather where ones eye rests easily. The artist uses
compositional elements to guide one’s eye to the focal point.

CREATING THE ILLUSION OF DEPTH/ THREE

DIMENSIONALITY.
There are 3 ways to create the illusion of depth in art.
1) Linear Perspective – One- and Two-point
perspective
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This is the illusion of depth created by placing objects on an

invisible mathematical grid that recedes towards a vanishing
point, i.e. one point perspective and two-point perspective.
One-Point Perspective: This is when an artist uses one
vanishing point and a series of lines to create the illusion of
depth.
Two-Point Perspective: This is when an artist uses two
vanishing points and a series of lines to create the illusion of
depth.

2) Aerial Perspective
By using various colours, one can create the illusion of
space/depth. Brighter colours in front and duller ones used
in the background give the illusion of space and depth.

3) Interposition
Interposition is the term used
to describe the placing of an
object in front of another to
give the illusion of depth.
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Chiaroscuro
This is an Italian term used to describe dramatic lighting, i.e.
dark areas, contrasting with very light areas. Often used in
horror films and dramatic scenes.

Relief sculpture
A Relief is a sculpture made by
raising forms onto or carving forms
into a flat base. Therefore, the front of
the relief shows form, and the
underneath is flat against wall.
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Sculpture, in the round

A sculpture in the round is a three-dimensional sculpture, which
one can view from all angles.

Format
Format refers to the shape, size and the proportions of the
actual artwork, and not the subject matter.
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Stylised
In a stylised artwork the artist has portrayed his subject matter
by simplifying or distorting forms.

Realism in art
There are different kinds of realism in art. For example:
 Stylistic realism
 Historical realism
 Social realism
 Political realism
Stylistic realism - If an artist represents his/her subject
matter exactly as they appear in real life, one will say that the
artwork is realistic.
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Historical realism means that the scene depicted is

historically accurate, yet it may not necessarily be painted in a
stylistically realistic way.

Social realism means that the scene depicted is socially

accurate, yet it may not necessarily be painted in a stylistically
realistic way.

Political realism means that the scene depicted is politically

accurate, yet it may not necessarily be painted in a stylistically
realistic way.

Concept
The concept behind an artwork is the idea or philosophical
thinking behind an artwork.
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Context
This refers to the circumstances in which influence or affect an
artwork. Historical, social and Political issues influence the
creation or concept of a piece of work.
Out of context, would therefore be viewing an artwork outside
of its surroundings, thus giving a false impression of its
meaning. It is therefore important to understand the context of
an artwork if you are to fully understand and appreciate its
purpose, aim or concept.
Idealise
Is to represent an image in its ‘perfect’ form, in
other words portraying an object without
showing its faults. An example could be
painting a portrait of an elderly person but
removing all their wrinkles to make then look
more youthful.

Iconography
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Iconography refers to a language of signs and symbols, which

tell a greater story. An icon is an image that represents a bigger
meaning.

Abstract: This is when an artist has simplified an artwork to the

point where it is not representative or recognizable of any kind
of form- It may only consist of basic shapes.
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Abstracted: This is when

an artist has simplified an
artwork, however the
image still represents
something recognisable.

Expressive: Is when
an artwork gives off
the emotion the artist
was feeling when they
created it. These works
tend to be sketchier
in nature.

THE DIFFERENCE BETWEEN A FORMAL AND A

CRITICAL ANALYSIS
A FORMAL ANALYSIS:
A formal analysis is when you are asked to analyse a painting or drawing
which you have never seen before. Therefore, you do not know the
empirical data: i.e.: the name of the artist, the medium the date it was
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made and the size of the artwork. You are also not aware of the context it
was made under i.e.: the political, social or historical reference of the
work. The analysis will then only consist of a discussion of the use of the
formal elements of art: shape, line, tone, space, texture, colour and form.
This also includes the effects that these formal elements have on the
overall composition and the focal point of the artwork.

THE FORMAL ANALYSIS GRID: (THE LAYOUT FOR TESTS

AND EXAMS)
ELEMEN FUNCTION
T

LINE

SPACE

TONE

FORM

SHAPE

TEXTURE

COLOUR

CRITICAL ANALYSIS:
This is when you do an analysis of a painting or drawing which you have
studied in depth. Therefore, you know all the empirical data: i.e.: the
name of the artist, the medium, the date it was made and the size of the
artwork. You are also aware of the context it was made under i.e.: the
political, social or historical reference of the work. The analysis will then
consist of a description of the work and a discussion of the context and
concept: i.e. the idea and philosophical meaning of the work. The analysis
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will also include the use of formal elements of art: shape, line, tone,
space, texture, colour and form. This also includes the effects that these
formal elements have on the overall composition and the focal point of
the artwork

‘THE LAST
SUPPER’ BY
LEONARDO DA
VINCI, FRESCO,
PAINTED
DURING THE
RENAISSANCE
PERIOD

THE FORMAL ANALYSIS GRID

ELEMENT FUNCTION

SPACE The artist has used one-point perspective in this image to create the
illusion of space and depth. We can see this as the perspective lines
vanish and converge at the back of Jesus’s head this creates the
illusion of depth as room becomes smaller the further back it goes this
also reiterates the fact that Jesus is the focal point.

The illusion of depth is also created by interposition, note how the

figures are overlapped giving the viewer the sense that one is in front
of the other much like the table is in front of the figures which mimic a
feeling of space.
(3)
COLOUR The illusion of depth is also created by using colour. This is called
aerial perspective we can see this as the colours in the foreground
namely the figures are a lot brighter in comparison to the colours used
at the back of the room and the distant landscape. This contrast of
colour naturally pushes the figures forward giving you the feeling of
depth.
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Colour is also used in a symbolic manner in this painting. Note that

Jesus is the only figure wearing red and blue. The red of his clothing
represents the crucifixion, the blood that He shed and the sacrifice He
made on the cross for mankind. The blue of His clothing represents
the fact that He is holy, pure and divine.
(3)
The table in the foreground creates a strong horizontal line across the
LINE painting which basically cuts the composition in half; this forces the
viewer’s eye onto the figures. This is the artist’s way of leading the
viewer to the most important aspects of the painting, which is the
figures.

There is an organic and natural line present is the figures themselves.

The contrasts of the organic lines in the figures versus the strong, rigid
and geometric lines of the room behind the figures once again
emphasize the importance of the figures for the viewer.
(3)

It appears that the artist has used lighter tones around Jesus in
TONE comparison to the tones on and around the other figures. This once
again draws the viewer’s eye to Jesus which restates the fact that He
is the focal point.

The different contrasting tones in the figures have been painted and
rendered in a naturalistic but quite idealized manner. This is evident if
one looks at the figures which definitely lean towards the ‘real’
however the flawless finish of the tones on the figures makes the
viewer realize that the scene and the figures have been idealized.
(3)
The contrasting tones on the figures in this painting have been
FORM executed in such a manner that they appear to mimic the illusion of
form and three-dimensionality.

The figures and the table give the viewer a definite sense that they
are grounded and that they have weight and essentially the illusion
that they are able to occupy a space.
(3)
There are no areas in this painting where the artist has rendered flat
SHAPE two-dimensional areas of shapes however he has constructed his
composition using basic geometric shapes. If we look at Jesus’s arms
which are stretched out and we draw an invisible line from one hand
to the other and up his arms it forms a perfect triangle. This is
symbolic of the Holy Trinity as it has 3 points; it also shows us once
again that Jesus is the focal point as it is in the middle of the painting.

The rectangular shaped window behind Jesus is lighter than him and
therefore acts as a kind of ‘halo’ around his head which is symbolic of
Him being Holy, pure and divine. This rectangular shape also shows us
once again that Jesus is the focal point as it is in the middle of the
painting.
(3)
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There is no ‘physical’ texture visible in this painting in other words the

TEXTURE artist has purposely painted in a very smooth manner so that his
brushstrokes are not evident. He could have done this deliberately in
order to further emphasize the idealization of the scene.

We can however see visual texture in the way that the artist has
rendered the clothing and the way that it falls and is draped on the
figures. The cloth is painted so masterfully that it is convincing to the
eye of real material it is as if you could reach out and touch it.
(3)
(21)

‘NIGHT CAFÉ’ VAN GOGH-FORMAL ANALYSIS:

ELEMEN FUNCTION
T

LINE  Line has been used in an expressive manner to draw focus to

certain areas such as the thick strong black lines around the pool
table which is one of the focal points in the painting.
 Line has also been used as a bold contour to define and emphasis
certain forms such as the figure dressed in white next to the pool
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table.
 Line has also been used to define the sense of space. This is
evident in the strong vertical lines in the corners at the back of
the room.

SPACE  The artist has created the illusion of space and depth by the use
of interposition. Most of the forms and figures in the painting are
overlapping each other such as the two figures seated at the table
on the right.
 There is a strong use of linear perspective present namely one-
point perspective as the lines of the roof, floorboards and the pool
table converge to a central vanishing point beyond the door at the
back of the room.
 Space is also created by fact that the objects and figures are
larger in the foreground and become gradually smaller towards
the back of the room which follows the law of perspective.

FORM  Although the tone in this painting is simplified which in turn

simplifies the form there is still a presence of form in the painting.
 such as the shadow under the pool table which gives the viewer
the sense that the object has mass, weight and essentially form –a
sense of three-dimensionality.
 The contour lines around the furniture in the painting are once
again simplified however they are drawn in perspective which also
creates the illusion of form an example of this would once again
be the pool table and the cabinet in the back of the room.
TONE  The tone is very simplified.
 The artist has done this in order to ‘play’ into the expressive style
which evokes a sense of emotion.
 Large areas are toned in the same tonal variation which simplifies
the tone as there is minimum use of tonal contrasts this is evident
in the entire painting however it is easy to notice it on the figures
in the painting.

TEXTURE  The painting is very expressive we can notice this as the paint is
evidently applied thickly (impasto). This in turn would give the
painting a rough looking texture which shows the artists emotional
connection and passion.
 The texture and mark making in the painting is of such a nature
that it has simplified the forms.
 Although the subject matter is recognizable the texture makes the
painting naturalistic rather that realistic.

SHAPE  Although forms are simplified in to shapes it is not definitely

defined geometric shapes they are rather suggestive to geometric
shapes.
 Such as the lights emit a beam that is very circular in nature.
 The pool table is very suggestive of a rectangular shape
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COLOUR  The artist has used a limited colour palette namely warm colours
this gives the viewer the feeling that the room in a cosy and
inviting place.
 Red is used on the walls and green on the roof, the two are
complementary colours which set each other off; the artist has
clearly exaggerated the colours for effect.
 The colours in the background of the painting are darker than the
colours used in the foreground, this pushes the foreground
forward emphasizing the feeling of space.