Chapter 8, Other Formal Elements, deals with texture, pattern, time and motion. Texture provides essential information about the surfacesreal or suggested, that a work of art possesses. Pattern, besides being the result of the repeat motif, is also the basis of visual rhythm, which creates a sense of motion and time. These last two elements are essential to our understanding of temporal or "time based media" such as dance, theater, performance art, and film and television.
After reading this chapter you should:
Remember, our perception of an object can be reinforced by tactile sensation or touch. Artists will often produce or suggest textures in order to convey or further the notion of reality. Pattern, whether revealed in Celtic illuminations or Turkish rugs, is an element that can imply motionwe visually follow serpentine lines, or feel a rhythmic, temporal beat as we glance at each repeated motif. Finally, time and motion are critical to our experience in all the arts. Whether we're contemplating a painting too large to be seen in a single glance, traveling the galactic lines of Pollock's Autumn Rhythm, or watching a performance art piece, it is time and motion that prescribes the essence of experiencing. The Critical Process asks us to consider how we've been conditioned to a certain "pace." Consider the idea of pace as you experience art and your environment, because ultimately, experiencing is a time-based phenomena.