LINE, SPACE, SHAPE AND FORM - University Of Houston

LINE, SPACE, SHAPE, AND FORMI. LINEA. DefinitionAn extension of a point, elongated mark, connection between two points, the effect of theedge of an objectB. Ways designers employ lines in a composition1. to make a shape, contour, define a boundary2. create variety by using angular, broken, bent, thick or thin lines3. create rhythm with curved or straight lines, varied in length4. simulate texture5. passive lines created between the division of one color from anotheror mass from space6. in perspective to create the illusion of depth7. organized to express movement or motion8. create focus through directionC. AspectsLines are analyzed according to nine aspects:1. Path2. Thickness3. Evenness4. Continuity5. Sharpness of the edge6. Contour of the edge7. Consistency8. Length9. DirectionD. Lines as design components1. Lines in buildingsa. Structural uses include columns, trusses, rafters,beams, planking, brick rowsb. Decorative uses include moulding, wallpaper, color blockingc.2. Lines in Clothinga. Structural uses include Seams, darts, shirring,silhouette, edges of collars, lapels, pockets, belts,sleeves, hems, openings, pleats, gathers, tucks, drapingb. Decorative uses included braid, rickrack, piping, rowsof buttons, insertions, binding, lace edgings, ribbon,soutache, topstitching, faggoting, ruffles, fringe, linearembroidery, beading or fabric patterns such as plaid,stripes, herringbones, checks, zigzags3. Lines in LightingSingle beams of light, edge of shadows, template patterns

E. Physical and Psychological effects of line1. The direction of the line is the strongest of the aspects because itleads the eye and creates focusa. Vertical lines are awake, alert, defy gravity, rigid, firm,stable, strongb. Horizontal lines are restful, yield to gravity, createquiet, repose, passivity, calmness, or serenityc. Diagonal lines appear undecided, unstable, busy, active,dynamic, restless, dramatic, sporty, lengthening, and reducehorizontal or vertical shapes.1. Often a diagonal line needs opposingdiagonal to appear balanced.2. If joining diagonal lines are pointingdown they tend to lift up, or make object/wearer appear lighter, happier, moreyouthful3. if they are pointing up the lines willhave the opposite effect causing theobject/wearer to appear older, heavier,somber, or droopy.d. A horizontal line combined with a vertical line createsstillness, staticness, equilibrium. For example, the framework of a building, telephone poles, branches of a tree.F. Expressive power of lines1. The choices made with respect to the aspects of the lines in a designcan manipulate the viewer for example:DANGERorDANGERWhich danger is more informative and gets the point across?2. Mood can also be manipulated depending on how aspects are useda. An assertive mood can be created with straight, solid,sharp, thick, even, smooth, bold, or vertical linesb. A soft, or delicate mood would employ curved, thin, orcontinuous linesc. A casual feeling would involve using lines that arezigzag, soft, broken, sharp, thin, porous3. Moods can be modified by aspects as wellAn assertive straight path can be modified with shaped,lacy, porous or fuzzy edges and become delicate orephemeral

G. Reinforcement and countering with line aspects1. Lines emphasis the direction in which the lines are goinga. A horizontal line at the shoulder or hip visually widenthe figure while a vertical line from the shoulder to thehip will visually lengthen the torsob. A thick horizontal line at the top of a low building, forexample a row of bricks in a contrasting color will causethe building to look wider or squatty, while the placementof a contrasting line of bricks vertical will give thebuilding more heightc. Soften tall, angular, thin, line with countering curvedlinesd. Counter protruding round lines with straight lines andsharp corners

II. SPACESpace can either be a flat area or have volume. An enclosed space is usually called“shape” while and unenclosed space is simply “space”, but the two are inseparable andhave a powerful and complementary relationship. Space/shape relationships can createillusions of depth or of foreground and background. In this relationship shape is knownas figure, enclosed space, or positive space while space is called ground, background, ornegative space. Empty space is also called open, unbroken, plain, or blank while filledspace is closed.Theatre is a three-dimensional space which requires that a designer always concentrateon how a design will look in a three-dimensional space.Scenic designers create on the vertical plane of the proscenium, and on the horizontalplane of the stage floor.Costume designers created on the vertical plane of the human figure in motion.Costumes take on the qualities of sculpture.Lighting designers can create designs that will change the look of a scenic or costumedesign elements from a shape with volume to a flat space by changing the direction ofthe line of the light and shadows.A. DefinitionThe two dimensional or three dimensional area into which all otherelements of design are placed1. Becomes shape, form, and pattern2. Determines how all other elements relate3. Surrounding unenclosed space should not beconsidered what is left over but a part of the overalldesign4. Space is organized by introducing lines thatsubdivide, rearrange, push, pull, and otherwisemanipulate5. A line drawn around some space creates shape and ashape is simply enclosed space thus, space, line, andshape are inseparableB. Descriptive terms for space/shape relationships1. Inside space is a shape, figure, foreground, positive, internal space2. Outside space is ground, background, negative, external, interstitialInterstitial space is between unconnected shapes3. Empty space can be open, unbroken, plain, blank4. Filled space can be closed, broken

C. Six cues that control visual perception of spatial effects1. Size of spatial divisions2. Overlapping3. Closeness of shapes4. Density of spatial divisions5. Convectivity and concavity6. Character of enclosing linesD. Advancing or flattening cues1. The cues that make enclosed space (shape) appear solid areadvancing cues. These cues expand, create depth, and increase theapparent distance between foreground and background.a. If sizes of shapes differ from each other and from thesurrounding space the shape will be perceived as a solidon a background.b. Overlapping spaces/shapes distinguish foregroundfrom backgroundc. Closeness of shapes that are not touching cause themto be seen as in front of a background and isolated, nottouching, floatingd. Density of space/shape filled w/texture pattern isperceived as solide. Convectivity or convex curves enclosing lines areperceived as shape, protrusion, pushing out, bumpsf. Line character that is thick and sharp make theenclosed space seem more solid, and dense, or furtherfrom the background.2. Cues that reduce, minimize, make areas recede, seem hollow, or porous areflattening cues.a. Similar sizes of areas create confusion betweenforeground and backgroundb. No overlapping lacks depth and all things are equalc. If shapes are so close they are touching it suggest one surfaced. Empty, plain space is perceived as hollow, void, orwithout densitye. Concave curves are perceived as holes, indentationsf. The character of thin, fuzzy, broken, or blurredenclosing lines creates a flat airy feeling because spaceflows into and out of the area, weak

E. Space as Ground in a compositionWhy is unenclosed space, or background, so vital in visual design?Ground, or interstitial space is a critical “captured space” and not justpassive, empty distance between other parts, but a tool that gives vitalityto relationships of shapes. Unenclosed space is complementary toenclosed space, or shape, and shape is complementary to space.1. gives the object form, importance, identifies, isolates,defines, distinguishes2. exerts pressure and locates or fixates an object inposition, gives stability3. provides distance to determine how shapes, lines,and spatial divisions relate4. provides rest and relief in pattern, a visual intervalsimilar to a rest in music, or a pause in speech5. appears behind shape thus pushes shape forward6. because it is less dense, more airy or hollow than theshape it surrounds it gives shape buoyancyF. Space as volumeA three-dimensional volume of air “space” surrounds us as we moveabout the stage, and is critical to functional and structural, as well asvisual design. In designing the organization of two-dimensional andthree-dimensional shapes in space, the designer is also concerned withthe relationship of the human form in that space. Together, thecostumed human form in space and the arrangements of threedimensional objects in space need to equal, or balance the volume of thestage space. The lighting of that space can either maintain, enhance, ordestroy that balance.G. Effects of SpaceSpace conveys both physiological and psychological effects.Physiologically, it contributes to illusion s of size. Filled space seemslarger than empty space. Spatial distance through which lines travel, aswell as their angles, contributes to inaccurate perceptions of their length.Psychologically, large, unbroken spaces are serene, yet bold anddramatic. Small, broken spaces suggest delicacy and complexity.H. Spatial Effects1. The designer incorporates spatial effects both structurally anddecoratively.a. Structural techniques control the distance betweenstructural lines. Space can be either structurally open orclosed.b. Decorative techniques control distance betweenmotifs, decorative construction details, or applied trimsmake shapes either decoratively open or closed.

c. Designers can create scenery and costumes or fill thestage with light that is1.2.3.4.Structurally and decoratively openStructurally and decoratively closedStructurally open but decoratively closedStructurally closed but decoratively open2. Physical Effectsa. Divisions into long narrow vertical spaces willheighten, lengthen, slimb. Divisions into horizontal sections will shorten and widen3. Psychological Effectsa. Unbroken space is dramatic, sophisticated, bold,serene, calm, confident, certain, open, simple,straightforward like the little black dress or a Rothkopaintingb. Somewhat (not extremely) unequally divided space isintriguingc. Large broken space is closed-in, busy, complex, tightd. Small, broken space is dainty, delicate, feminine,intriguing

III. SHAPE AND FORMA line completely surrounding space creates something that a line dividing space doesnot which in turn creates potential effects that nothing else canA. Definitions1. Shape is a flat two-dimensional area enclosed by lines2. Form is a three-dimensional area enclosed by a surfacea. Hollow forms have volumeb. Solid forms have massB. Type of shapes and formsVariations of geometric shapes compose all buildings, works of art, andthe human body1. Equal sideda. Shapes – Square, circle, equilateral triangle,pentagon, hexagon, octagon, diamond, marquis, ogive,starb. Forms – sphere, cube2. Unequal sideda. Shapes – oval, scalene and isosceles triangle,rectangle, parallelogram, trapezoid, heart, teardrop,paisley, club, spade, pear, kidneyb. Forms – tube, cylinder, cone, pyramid, rectangularbox, bell, dome, ovoid, egg, hourglass, trumpet, barrelC. Attributes of Shape and FormShapes project the moods of the types and directions of lines enclosingthem and the space within them.1. Stable and confident – rectangles, squares2. Less stable but more dynamic – triangles, pentagons, hexagons,octagons, trapezoids, parallelograms, cones, and pyramids3. Visually interesting – unequal proportions4. Less visually interest – equal proportions, circle, square, sphere, cube5. Security – shapes that fit together tightly, squares, hexagons, ogives,diamonds, triangles, paisleys, parallelograms, rectangles6. Variety – shapes that leave spaces, octagon, star, circle, etc.