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46) Illusion of Motion by Multiple Image

This image, while not actually moving, portrays motion by capturing the figure at different stages of his jump. The viewer connects the images logically to recognize the motion implied.

45) Illusion of Motion by Blurred Outline

The execution of this image creates a feeling of motion for the viewer. The artist purposefully made the edges of the subjects unclear and indistinct. By using this technique, the artist conveys the movement that a herd of large animals would make in the natural environment on paper.

44) Illusion of Motion by Repeated Figure

This image shows the same moving figure in multiple frames, capturing their progression from one position to the next. In each individual image, the figure appears stationary. However, by combining the series of shots, the illusion of motion is created as the viewer connects each frame.

43) Anticipated Motion

Each of these images, while not physically moving, has an expectation of movement. The space between the droplet and the water's surface creates a tension for the viewer, who is anticipating its fall. In the second image, the figure's limbs seem to be on the verge of moving, if only they were not two-dimensional. The lines of the limbs create this anticipation.

42) Spatial Puzzles (Equivocal Space)

This image makes use of transparency to confuse the viewer's perception of depth. When you can see through an object, it's harder to clearly define its location in space relative to those around it. The different layers are difficult for the eye to make out.

41) Multiple Perspective

Picasso's Portrait of a Sitting Woman clearly demonstrates the use of multiple perspectives. The artist combines portions of images of the subject's face from both frontal and profile views to create a disjointed portrait. It is this combination of different visual perspectives that give Picasso his distinctive style and lend to his conceptual, rather than realistic, work.

40) Amplified Perspective

This first image employs amplified perspective in the form of a close-up. Close-ups generally have one part of the image that demands the viewer's attention. Since this focal point is supposed to be the closest to the viewer, it appears larger than the rest of the image. In this particular photograph, the closest point is exaggerated even more to emphasize the perspective. The second image uses the same type of perspective to make the subjects appear much larger or farther away than they actually are.

39) Illusion of Space by Linear Perspective

In this photo, the perspective created by the railroad lines and the lines of the tunnel draw the viewer's eye into the background. This linear perspective lets you know that space exists between the foreground and the train in the background, despite the two-dimensional nature of the photo.

38) Illusion of Space by Aerial Perspective

Painted as if from a nearby mountainside, this watercolor gives the illusion of looking down upon the scene below. This particular perspective implies a large distance between the viewer and the landscape; the mountains, though large in reality, are painted quite small as they would appear from a great height.

37) Illusion of Space by Vertical Location

The ladder in this photograph is an excellent demonstration of space. The highest rungs appear smaller and closer together than the lowest ones, giving the illusion of depth. In this instance, the difference in vertical location is the key to recognizing how far back in space each section of the ladder is.

36) Illusion of Space by Overlapping

The space in this two-dimensional image is achieved by the overlapping of individual pieces. The camel and rider in profile are obviously closer than the pyramids in the background, despite the fact that the pyramids are in fact much larger. Each pyramid cuts off a portion of the one behind it. The viewer knows that the rest of each pyramid exists, so the cut off portion must be farther back in space.

35) Scale Confusion

The woman in bed is obviously created on a much greater scale than the woman sitting in the chair. While both figures are proportionate, the difference in physical scale is visually contradictory when combined in the same image.

34) Alternating Rhythm

This pattern incorporates a repeated design of black diamonds whose negative space rotating white squares. The diamonds alternate between being vertical and horizontal.  This alternation between positions creates a visual rhythm. The eye jumps back and forth from one shape to the next.

33) Progressive Rhythm

The repeated camel shadows in this photograph create a visual rhythm. The fact that each successive image decreases in size as it recedes into the background makes this rhythm progressive in nature. This regular change in size and positioning works to create the progression.

32) Absence of Focal Point

This image lacks a singular point of visual interest. Instead, the repetition of shapes and lines serves the purpose of creating an overall pattern.

31) Degree of Emphasis

In this painting of Degas' dancers, different areas of the scene draw varied amounts of visual interest. First the eye may be drawn to the dancer on the left, then the chair in the center of the room, followed by the instructor, and finally the dancers along the barre. Each point incorporates elements such as light, size, etc. to draw the readers' eye and move them from the point of most visual emphasis to that with the least.

30) Emphasis by Placement

In this painting, the obvious emphasis is placed on the baby at the center. Emphasis is created by this placement. The artist uses light and location the draw the viewer's eye to the subject.

29) Emphasis by Isolation

In this photograph, the figure on the roof is alone against the background. It is made the focal point because of the empty space surrounding it. The eye is drawn to this lone figure because of the lack of visual interest elsewhere.

28) Emphasis by Contrast

In each of these images, the emphasis is placed on the object that is "different". In the first, the bike rider clearly stands out among the otherwise identical buses. In the second, the bird is the focal point. Both its blue color and its nature as a non-mechanical object provide contrast from the surrounding objects.

27) Crystallographic Balance (All Over Pattern)

This patterned wallpaper has the same image repeated throughout. The same emphasis is placed on each aspect of the composition. Thus, there is equal visual weight across the image.

26) Radial Balance

This mayan calendar has radial balance. The various components that make up the design radiate around the central point; in this case, the face. They are repeated as one circles the image.

25) Asymmetrical Balance

This image has visual balance without being symmetrical. There is obviously more weight on the top half of the image than the bottom. The design appears to be floating near the top; this might not make as much visual sense if the weight were on the bottom.

24) Symmetrical Balance

This landscape conveys symmetry through its almost perfectly balanced halves. The left is a mirror image of the right, lending equal visual weight to each side.

23) Unity with Variety

The composition of this image is brought together by the repetition of similar objects. While the different types of cheeses vary in their appearance, they are all forms of the same content.

22) Unity through Continuity

Each of these images are linked by their shared theme. The garlic clove is continued in every frame. Thus, they are united through continuity.

21) Unity through Continuation

In this first image, the orange peel leads the viewer's eye around the frame. The peel unites the individual elements of the orange and the book by continuing from one to the next. In the second painting, the farmers create a visual line that connects them to one another. The unity in each image is achieved by the continuation of visual elements.

20) Unity through Repetition

This Warhol image is comprised of repeated Coca-Cola bottles. Although not all of the bottles are exactly the same (some are only partially full), an overall unity is achieved by their repetition. They are connected by repeated form and content.

19) Unity through Proximity

The figures in this image are connected by their physical closeness. They become a visual group due to this proximity and the space surrounding them.

18) Visual Texture

The soft lines of this charcoal drawing work to create its perceived texture. Gradual shading adds to the illusion of vaporous clouds with rolling and shifting edges. Though the clouds appear to be part of a storm, the visual texture created by the artist maintains the somewhat delicate appearance of the actual clouds.

17) Tactile Texture

This image depicts a tactile texture, one that seems as if it could be physically touched. While the basket weave itself cannot be touched by the viewer, the colors, values, and patterns work to create a lifelike representation.

16) Value as Emphasis

This black and white photograph makes impeccable use of light. Only the very outmost edges of the figure's face are distinguishable from the dark background and foreground. This value contrast is what creates the emphasis on the shape of the face.

15) Value as Pattern

The alternating light and dark values in this photo create a visual pattern. The contrast between trunk and shadow is repeated across the image to aid in this perception.

14) Curvilinear Shapes

These shapes are created with curved lines, rather than the hard edges and straight lines of rectilinear shapes. The artist can use these smooth curves to imply movement.

13) Rectilinear Shapes

This blueprint is comprised almost singularly of shapes with straight lines and right angles. Most of the shapes in this image do not use curved lines at all. They make a sturdy visual impact, a desirous quality of most building blueprints.

12) Nonobjective Shapes

The shapes in this sculpture are purely imaginative. They could not be found in nature. Instead, the artist created these shapes for design purposes, rather than to represent existing shapes.

11) Abstraction

This Jackson Pollock piece is a visual abstraction. Rather than depicting objects or people that exist in nature, the artist chose to use nonrepresentational marks and shapes to convey his ideas.

10) Idealism

These pharaoh statues are examples of idealized art. They are not anatomically proportionate representations of the kings and queens they depict. Rather, the artist or builder created a piece that accentuates the qualities of the subject, creating a more ideal figure.

9) Distortion

Picasso's Weeping Woman is an example of distortion in art. Rather than a creating a lifelike depiction, he departs from the norm, changing traditional shapes, colors, and visual arrangements. This creates a distorted view of the subject matter.

8) Naturalism

The Angelus, by Jean-Francois Millet, depicts a man and woman performing a traditional prayer ritual in a field. The idea of Naturalism involves creating scenes as they appear in real life. The artist painted his subjects as if they were going about their daily lives, without embellishing the appearance or style of the painting.

7) Lost and Found Contour

The extreme shadows in this painting hide some of the contour lines of the main figure. This technique emphasizes the light areas of the painting. The rest of the figure might not be visible, but its shape is still implied. Our mind automatically completes the lines in our heads.

6) Line as Value

The shadows created by the fence line in this photograph contrast starkly with the light grass. These dark and light areas form lines of contrasting values across the image.

5) Gesture Line

Each of these images incorporate gesture lines depicting the path of an object. Rather than merely defining the subject's location, these gesture lines convey motion and energy. They are representative of the space each object takes up.

4) Contour Line

The lines in Da Vinci's Study of a Horse form the outline of the figure he is trying to depict. These contour lines define the shapes that make up the horse. That is, the edges of muscles, feet, ears, etc.