http://char.txa.cornell.edu/language/element/element.

htm

Introduction to the Elements of Design:

Point
The elements are components or parts which can be isolated and defined in any
visual design or work of art. They are the structure of the work, and can carry a
wide variety of messages.

The elements are:

 Point

 Line

 Form, shape and space

 Movement

 Color

 Pattern

 Texture

Point
Even if there is only one point, one mark on a blank page there is something built
into the brain that wills meaning for it, and seeks some kind of relationship or
order, if only to use it as a point of orientation in relation to the outline of the page.
If there are two points, immediately the eye will make a connection and "see" a
line. If there are three points, it is unavoidable to interpret them as a triangle; the
mind supplies the connections. This compulsion to connect parts is described as
grouping, or gestalt.

Gestalt is the fundamental tool the designer or artist

uses to build a coherent composition. The example of
a student self-portrait seen on the left demonstrates
how images may be built from points, with the
variations in density producing the illusion of form.

Gestalt theory developed in the 1920s in Germany.

The term describes a number of concepts that the
eye/mind use to group points into meaning. These include Closure, in which the
mind supplies missing pieces to complete the image-- this occurs in the Mona Lisa
images to the right. A second concept is continuity-- this describes the tendency to
"connect the dots" and so accept separate parts or points as part of a contour or
form. It is hard to resist, for example, the compulsion to see two dots as implying a
line, or three as framing a triangle.Similarity describes the tendency to see and
group objects of similar shape or color. Proximity results in a tendency to group
points or objects that are close to one another relative to less proximate in the
visual field. Alignment, either along edges of the objects or points or through their
centers, will persuade us see them as a contour or a line. For a further discussion of
Gestalt theory and some visual examples, go to this site.

The involuntary will-to-order that we impose on a collection of points can be

clearly seen when we examine the series of faces presented on the right (to see the
distortions properly, you will need to click on this small image to bring up the
larger version). At what stage do the apparently random points of value become
identifiable as a face? At what point do they become a specific face? Which of the
concepts above describe how we see these images?

The Elements: Line

A line is a mark made by a moving point and having psychological impact

according to its direction, weight, and the variations in its direction and weight. It
is an enormously useful and versatile graphic device that is made to function
in both visual and verbal ways. It can act as as a symbolic language, or it can
communicate emotion through its character and direction

Line is not necessarily an artificial creation of the artist or

designer; it exists in nature as a structural feature such as branches, or as surface
design, such as striping on a tiger or a seashell.

It can function independently to suggest forms that

can be recognized, even when the lines are limited in
extent. This can be seen in drawings such as the Saul
Steinberg illustration shown here, or in Alexander
Calder's minimal wire sculptures, which convey a great
deal of information about the figure with the most limited line.

Lines can be combined with other lines to create textures and

patterns. This is common in engravings and pen and ink drawings
such as the one on the right (click and enlarge to see linear detail).
The use of line in combination results in the development
of form and value, which are other elements of design.

However, line is not always explicit. It can exist by implication,

as the edge of forms. As young children we usually begin drawing
landscapes by making outlines for earth, sky, and other objects.
Gradually we learn that objects do not have such outlines and we
let color changes define the edges of shapes, creating implicit
lines. Thus we can speak of a horizon "line," or the "lines" of a car
or a fashion silhouette, even though we know there is no literal line present. For
additional visual examples of

Expressive Qualities of Line

Certain arrangements of line are commonly understood to carry certain kinds of
information.
For example, calligraphy is recognizable as a representation of
words, even when we do not know the language. Calligraphic
imagery is often used by modern artists simply because of the
mysterious messages implied in the "code" of unknown language.

Line in the form of maps is readily recognized as

a symbolic representation of a place. The place
may be a local neighborhood, or the entire world.
It may be a carefully measured representation, or
a stylized diagram, such as a subway map. In
either case, we understand it to be a device by
which we can understand the relationship
between places; how to get from "here" to
"there."

Floor plans are a specialized kind of map, a

commonly understood device which describes a
building. This linear language can be understood even when the building is as
unusual as this one, which was to be constructed of a sprayed foam material in a
decidedly unconventional form.

Graphs are another readily recognizable linear

device. They are widely used to communicate
quantitative information and relationships in a
visual way. From the time we first meet them in
basic algebra, to the last time we picked up a copy
of USA Today, we encounter and interpret graphs.
Line also communicates emotion and states of mind through its character and
direction. The variations of meaning generally relate to our bodily experience of
line and direction.

Horizontal line suggests a feeling of rest or

repose. Objects parallel to the earth are at rest in
relation to gravity. Therefore compositions in
which horizontal lines dominate tend to be quiet
and restful in feeling. One of the hallmarks of Frank Lloyd Wright's architectural
style is its use of strong horizontal elements which stress the relationship of the
structure to the land.

Vertical lines communicate a feeling of loftiness and spirituality.

Erect lines seem to extend upwards beyond human reach, toward
the sky. They often dominate public architecture, from cathedrals to
corporate headquarters. Extended perpendicular lines suggest an
overpowering grandeur, beyond ordinary human measure.

Diagonal lines suggest a feeling of movement or direction.

Since objects in a diagonal position are unstable in relation
to gravity, being neither vertical nor horizontal, they are
either about to fall, or are already in motion, as is certainly
the case for this group of dancers. In a two dimensional
composition diagonal lines are also used to indicate depth,
an illusion of perspective that pulls the viewer into the
picture-creating an illusion of a space that one could move about within. Thus if a
feeling of movement or speed is desired, or a feeling of activity, diagonal lines can
be used.
Horizontal and vertical lines in combination communicate stability and solidity.
Rectilinear forms stay put in relation to gravity, and are not likely to tip over. This
stability suggests permanence, reliability and safety. In the case of the man in this
family group, the lines seem to imply stability to the point of stodginess.

Deep, acute curves, on the other hand, suggest confusion, turbulence, even frenzy,
as in the violence of waves in a storm, the chaos of a tangled thread, or the turmoil
of lines suggested by the forms of a crowd. The complicated curves used to form
the mother in the family group shown above suggest a fussy, frivolous personality.

Curved lines do vary in meaning, however. Soft,

shallow curves suggest comfort, safety, familiarity,
relaxation. They recall the curves of the human body,
and therefore have a pleasing, sensual quality.

The quality of the line is in itself a fundamental

visual language, to an extent that cannot be claimed
for any other single element. Its use is so universal
that we are all profoundly sensitive to it. Even
without an artist's training, we can extract
considerable meaning from the kind of line used in a
drawing. It is possible to recognize the soft, irregular
lines of a quick sketch from life, as seen in this study of a lion.

On the other hand, the crisp, carefully placed lines of

the rhinocerous are typical of a more studied,
scrupulously worked studio drawing. The lines
suggest that this was not drawn from life, but from
hearsay. This is also evident from the fact that Durer
drew this rather inaccurate image in fifteenth century Europe when he could only
have known of this African animal from travellers' tales.

The quality of line in itself contributes to the mood of the work, and
for the master artist, the quality of line is a fundamental expression
of his/her style. This drawing of a nude by Matisse demonstrates his ability to
create his image through a minimal number of expertly placed lines-lines that by
their placement and movement on the page identify this work with this artist as
surely as a signature.

http://etad.usask.ca/skaalid/theory/cgdt/line.htm

A line is a form with width and length, but no depth. Artists use
lines to create edges, the outlines of objects. A line is created by
the movement of the artist's pen.

Line Direction

The direction of a line can convey mood.

Horizontal
lines are
calm and
quiet,

vertical lines
suggest more
of a potential
for
movement,

while
diagonal
lines strongly
suggest
movement
and give
more of a
Contour and gesture

Lines used to follow the edges of forms are

called contour drawings

Drawings which seem to depict more movement

than actual outline are called gesture drawings.

Line as Value

Lines or crosshatching can also be used to create areas of grey

inside a drawing. These areas of darker shading inside a figure,
called areas of value, can give a more three-dimensional feeling
to an object.
Drawing by Marguerite Smith, Saskatoon