SHAPE
Gestalt theory can enlarge upon the definition of SHAPE as an area defined by line. We insist upon seeing shapes from approximately related elements, such as four dots perceived as a square, or a few dashes perceived as a circle, from the gestalt principle of closure.
We can define shape as any visually perceived area which stands out from an adjacent area by its color, value, texture or line or combination thereof. In 2-dimensional art, shape is regarded as a flat area which might parallel the picture plane and thus create flat pictorial space.
This same shape might suggest depth into the picture plane through the use of weighted edges, or a rotation away from the picture plane or through overlapping.
Shapes are often referred to as forms, masses or volumes when they become 3 - dimensional. A mass is a body which appears to stand out from the space surrounding it and creates the illusion of a solid body. A volume is a measurable area of defined or occupied space. Shapes appear 2-d when they seem to have height and width only and 3-d when they illude to having a depth dimension also.
Shapes can be made to create the illusion of a 3-d mass by juxtaposing planes. This juxtaposition does not have to follow rules of linear perspective exactly to portray the illusion of depth. Three parallelogram shaped planes when brought together can create the illusion of depth. They don’t even have to touch to create the sensation. (Implied Shape) What gestalt is at work here?
There are many types of shapes which can be grouped into categories of derivation. Those which come from the imagination are subjective and those derived from observable phenomena are objective. If a shape is derived from some natural source it could be called naturalistic, representational or realistic. When they come from the imagination they might be called abstract, nonrepresentational or nonobjective (wholly invented). Curvilinear shapes that suggest life are called biomorphic. The Surrealist artists invented shapes that were influenced by the early days of microscopic scientific research. They wanted to explore the origins of the subconscious, as it was being defined by Freud, and such shapes seemed to naturally emerge from their investigation. Rectilinear shapes are geometric and based on mathematics. The Cubists used such shapes to explore an analytic investigation of the natural world by presenting forms from multiple points of view.
Another category of shapes derive from spaces - unfilled areas that might be seen as positive. When the ground to which a shape has been applied is seen itself as a positive shape, a figure - ground reversal takes place. This happens when equal amounts of black and white shapes are distributed on the picture plane like a 4 square checkerboard.
Optical figure-ground reversals tend to happen when there is less white than black in the design, because white often seems to expand whereas black contracts. The print by M.C. Escher reveals a figure/ground reversal. Your brain wants to see either the birds, or the fish, but not both simultaneously.
WAYS TO HOLD SHAPES TOGETHER
l. overlap
2. abutting shapes - place shapes next to one another
3. interlocking - similar to a jigsaw puzzle, shapes are fit into one another
4. mutual tension - a kind of gravitational pull exists between shapes to create an area of tension
5. suggestions of continuity - shapes appear to be part of a continuous whole
SHAPE AND ITS RELATIONSHIP TO THE PRINCIPLES OF DESIGN
Shape can be influenced by balance through its size, value, texture, color or location. Shape has direction by its measurements. Edges of shapes move the eye of the viewer along pathways which align with other shape edges. Shapes can point by their long axis and arrow-like qualities. (Squares have a static effect. Why?). So these pathways also have a time flow. How quickly does the eye move, linger, pause or hurry along in its journey? The artist might want the observer to linger, but a designer might want the viewer to quickly grasp a message.
The size of shapes influence content.
Can you invent an abstract shape that feels awkward or shy or confident? The configuration of a shape gives it meaning beyond what it is. An elliptically shaped brick, or a square cloud, or a cube shaped baseball might seem strange. By knowing that some shapes can evoke emotional responses, the artist can create pictorial or sculptural drama.
