Implied Line - Notice how three of Jesus' fingers on his right hand are pointed upward.
Actual Line - Place your finger on the top of the swirled cloud in the sky where it starts on the top left side of the page, and then trace the top of the cloud until you reach the bottom of the cloud.
Geometric Shape - This simplistic piece is full of basic shapes, like circles and triangles.
Organic Shape - This picture is full of leaves and plants, thus full of of irregular, soft looking shapes.
Complementary Color - The reds and the greens in the painting compliment each other nicely, making each other stand out.
Analogous Color - The orange and the yellow on the bed in the painting harmonize each other greatly.
Arbitrary Colors - This woman's skin is a yellowish color, something that is not considered "normal" in Western society (unless you're a Simpson.)
Perceptual color - Everyone knows that the eaves of palm trees are normally green, but in this painting, they appear to be a dark blueish color.
Illusion of depth - the people in the background of the painting are drawn in a much smaller scale than the people in the foreground, thus making it appear as though they are far away.
Negative/Positive Space - You see that lion and that woman? That's the positive space. See the sky and the ground and the mountains in the background that seems to surround them? That's the negative space.
Actual Texture - The artist did a magnificent job creating those little spirals on the handle of the jug.
Implied Texture - The design of the woman's dress - specifically the lace - truly appear as if it would feel like actual lace if you reached out and touched it.
Monochromatic Value -This piece uses all kinds of different shades of green and blue.
Hatching/ Crosshatching - The artist has used hatching to create the appearance of shadow and detail on the horse.
Chiaroscuro Value - There are shadows drawn around some of the skulls in this picture, making them appear almost 3D.
Pattern - There's a fan pattern on the shell that Venus is standing on.
Symmetrical balance - The columns in the foreground are drawn in a way that if you folded the picture in half, they would line up perfectly.
Radial Balance - Though not completely symmetrical, the symbols are neatly placed so that they show some form of balance.
Asymmetrical Balance - The right side of the elephant appears to be slightly larger than the left side.
Contrast - This picture uses two conflicting colors - black and white.
Movement/Motion - This picture uses a great example of motion - David swinging his sword down on Goliath's neck.
Emphasis - Washington's black coat makes the viewer's eye immediately go to him, as it is much darker than all the other colors in the picture.
Scale - The man with the skull and ******** on his chest is depicted as being larger than the other three men to show that he is in charge.
Proportion - The hand of the cyclist on the left and the head of the cyclist on the right are both freakishly huge, and the left cyclist's head is very small, This gives them both a very cartoonish appearance.
Repetition/Rhythm - The use of circles and triangular shaped petals are repeated.
Unity - This piece uses a combination of cool colors and the same shape in a sequence. No one thing stands out amongst the picture.
Variety - This macabre picture uses a variety of colors to identity the various followers and loved ones of Socrates.
Representational - The image is clearly recognizable as a person's head, and the snakes are recognizable from the way they are contorted and the heads at the end of each one.
Abstract - Just as the title suggests. There doesn't seem to be a rhyme or reason to the sequence of shapes.
Non-representational - While the picture does show a definite shape and form, it is unrecognizable and doesn't seem to be natural in any way.
Role of Innovator - To "innovate" means to start something, Virgil and Dante's descent into Hell (the red and purple clad characters) starts at the top left corner of the picture.
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