The Element of Shape in Art

The element of shape in art? What is it, and why do we care?!

Well, not being aware of the shape element is a bit like trying to make a cake without using a baking tin - we just end up with a fine mess on the work top!

Okay, that's a bit of an exaggeration, but using shape deliberately can certainly give our work a strong structure and even a bit of 'oomph'.

We're talking about 2-dimensional shapes:

• Geometric - squares, circles, triangles etc.
• Organic -  shapes that we find in nature
• Free-form  - shapes that we create ourselves.

So let's take a look at some famous artists' work and see why they use the shape element - maybe their ideas could work for you too!

Geometric Shapes

Marc Chagall uses overlapping geometric shapes - circles, triangles and rectangles,  forming a structure underlying his dreamlike images of folk-tales and childhood memories.

It was considered ground-breaking at the time. Maybe it sparks off some ideas of your own? Let your imagination, dreams and memories float free without too much regard to realism. Interesting!

So, what do we make of this one?

Here are two of Mondrian's quotes which shed a little light:

"By stripping down to only primary colors and basic geometric shapes, I aim to achieve a sense of universal harmony."

And here's what he said about another painting he did after gazing at a starry sky;

"Impressed by the vastness of nature, I was trying to express it's expansion, rest and unity."

When we look at the painting above it's as if we are looking through a window at a very small part of something much bigger, don't you think?

There are no real edges to the image and in fact on all four sides we see areas of red, blue, yellow and black indicating that the colors and lines just go on and on, seemingly without end.

You could try taking this approach if you're after a similar effect.

In this work by Titian we can see that Joseph's head forms the apex of an underlying triangular shape. The sides of the triangle are formed by the backs of Mary and the shepherd.

This pictorial technique was often used by Renaissance painters to convey a feeling of stability - very different from Mondrian's work, above, where the composition seems to be flying off the edges of the canvas.

It all depends on what you want to convey. If a sense of stability is what you are after, Titian's triangular composition will certainly help you achieve it, whether you're into detailed figurative work, or whatever other form your artistic mood takes you.

Useful thing, the shape element in art!

Here Picasso is obviously enjoying the element of shape in art, using squares, rectangles, triangles and partial circles.

You may know that he co-pioneered cubism, where objects, portraits or landscapes were observed from more than one viewpoint -  each viewpoint being used together in one painting. Using geometric shapes is one of the ways he does this.

Next, a cubist still life by Juan Gris...

In this cubist work do you think one of the views was seen through the beer glass?

If you're intrigued by the cubist idea, why not try one yourself?  Start with two or three simple objects like an apple and bottle on a patterned cloth, view them from all angles, forget perspective, and see what you come up with!

More on Shape vs Form

Organic and Free-form Shapes

Here's how Georgia O'Keeffe uses the element of shape in art. She said,

"If you take a flower in your hand and really look at it, it's your world for a moment."

By using a large canvas O'Keeffe is able to take us right into the flower's world. All background is eliminated, so we almost feel we're part of that world too.

Seeing the flower this close up shows us the beauty of its colors and flowing organic shapes. Each petal shape, with its own function and 'personality', leads the eye (as well as the bee!) to the depths of the flower's centre.

Want to try something similar yourself? Your local florist is a good source of inspiration if you don't have a garden.

If you're not yet confident of your drawing skills, use a photo! Make sure it's a good one though, the camera is rarely as good as the human eye.

Exhibited in 1954 to much acclaim, this joyful work was done towards the end of Matisse's life as part of his 'cut-outs' phase when he was no longer able to paint. 

But nothing can stop someone with that kind of bubbling creativity. He started cutting shapes out of paper, finding a whole new means of expression.

We can see that the shapes are obviously based on organic plant forms but Matisse has adapted them to his own free-form ideas.

I love this quote from him: "There are always flowers for those who want to see them."

If you want to try something like this yourself, paint sheets of paper with quick-drying gouache color and then start cutting out your shapes. That's what Matisse did!

More on color

Alphonse Mucha, painter and graphic artist, was known for his part in the Art Nouveau Movement, which based its ideals on growing, organic forms.

In this work we see how well Mucha has used swirling, free-form shapes of the woman's hair and fabric, reminiscent of growing plants or flowing water to express effortless, dancing movement.

Interestingly, that effect is contrasted and enhanced by the static geometric shape of the circle she is placed against.

You too could use free-form or organic shapes in that way if you need to create an impression of movement.

Of course it doesn't have to be Art Nouveau style - as a complete contrast, for example, how does Pop art grab you?!

Pop artist Lichtenstein became famous for his work imitating comic-strips with their thick black lines and primary colors.

The shape of this brushstroke is very expressive, describing the brush's movement in the artist's hand. We guess that he started off painting a few brushstrokes, picked the best, then designed the finished piece in his comic-strip style.

A word about positive and negative shapes. Obviously the brushstroke in this work is the positive shape, but the space surrounding the brushstroke makes a shape too - and that's the negative shape.

"So what"? you might ask. Well, the proportions of these shapes relative to each other are important.

Imagine if the background negative shape was a lot larger in relation to a tiny brushstroke sitting in the middle of it. Wouldn't make much of a statement, would it?

On the other hand, if the positive brushstroke shape was any bigger, jammed up against the edges of the rectangle, it wouldn't have any room to 'breathe'.

So the proportions of the shapes have to be 'Goldilocks' right!

How Will You Use The Element of Shape in Art?

We've seen here a few very different ways artists have used the shape element to express their own artistic ideas. We've seen why they use it and how they use it.

Which ones do you like best? Organic shapes? Geometric? Or do free-form shapes appeal to you the most?

Have a think and then try scribbling out a few rough ideas in your sketch-book, for your eyes only. To loosen you up, be as rough and as scribbly as you like, nobody is going to see it at this stage -  just see what you come up with.

Look on the element of shape in art as another useful addition to your toolbox, to be used as and when you need it. It can even open up a whole new direction for you.

So can we make the element of shape work for us? Absolutely!

Remember, the shape element is like the baking- tin. After all, no tin - no cake!