Chapter 4: Line and Shape - Detailed Notes

Lines and Shapes

Lines and shapes are fundamental visual components, closely linked and present everywhere.

Line

  • Lines differ from other visual components as they arise from tonal or color contrast.
  • The presence of a line is contingent on contrast; it can be revealed or obscured depending on this contrast.
  • Lines can be divided into seven perceptual types:
    • Edge
    • Contour
    • Closure
    • Intersection of Planes
    • Imitation through Distance
    • Axis
    • Track
Edge
  • Edge refers to the apparent line around the borders of a two-dimensional object.
  • A piece of paper is used as an example, where its edges are perceived as lines even though no actual lines exist.
  • Lines appear only if there's tonal or color contrast.
  • A shadow cast on a wall is an example of edge, creating a perceived line around the two-dimensional shadow.
Contour
  • Contour is the apparent line around the border of a three-dimensional object.
  • We perceive a line around three-dimensional objects, but real objects don't have actual lines.
  • A basketball is used as an example, where the curved line around it is perceived as the border.
  • If the ball and background have the same tone, the lines (and the ball) will disappear due to lack of tonal contrast.
Closure
  • Closure involves primary points of interest in a picture creating imaginary lines.
  • Four dots can be perceived as a square because the viewer imagines lines connecting them.
  • Primary points can be objects, colors, tones, or anything that attracts attention.
  • Lines can be curved or straight, forming triangles, squares, or other shapes.
  • People's heads can serve as primary points, creating a triangle and a diagonal line through closure.
Intersection of Planes
  • Lines appear when two planes meet or intersect, especially with tonal contrast.
  • Corners of rooms create lines if there's tonal contrast between the planes.
  • Removing contrast makes the lines disappear, while exaggerating contrast makes them more apparent.
  • Examples include corners of furniture, windows, doorways, and wall intersections.
Imitation through Distance
  • Objects appear to reduce to lines when viewed from a significant distance.
  • Girders of a tower, telephone poles, or a distant desert road can appear as lines.
Axis
  • Many objects have an invisible axis perceived as a line.
  • People, animals, and trees have axes.
  • A standing person has a vertical axis, while a reclining person has a horizontal axis.
  • Contrast is needed to see the axis; it becomes difficult to define when tonal contrast is reduced.
  • A square doesn't have a single, definite axis, but a rectangle does.
Track
  • Track is the path of a moving object, leaving a line behind.
  • There are two types of tracks: actual and virtual.
Actual Tracks
  • Moving objects leave a visible track or line.
  • Examples include a skywriting airplane leaving smoke or skiers leaving indentations in snow.
  • These tracks are imitations through distance or contour.
Virtual Tracks
  • Most objects generate a virtual or invisible line when they move.
  • A flying bird or moving car generates virtual tracks, existing only in the viewer's imagination.

Linear Motif

  • Any picture can be reduced to simple lines, called the linear motif.
  • It can be a combination of circular, straight, vertical, horizontal, or diagonal lines.
  • The linear motif is revealed by emphasizing tonal contrasts.
Methods to Reveal Linear Motif
  • Using a contrast viewing glass (dark brown or blue monocle) increases contrast and reveals the linear motif.
  • Squinting increases contrast, reduces detail, and emphasizes the lines.
  • Analysis should be done on the two-dimensional screen, not in real life.
  • Lines in the screen world might not be what they seem in the real world.

Contrast and Affinity

  • Line is used to produce contrast or affinity through orientation, direction, and quality.
  • Contrast and affinity can occur within a shot, from shot to shot, and from sequence to sequence.
Orientation
  • Orientation is the angle of lines created by stationary objects.
  • Lines created by edge, imitation through distance, and intersection of planes are stationary.
  • The three angles of line orientation are horizontal, vertical, and diagonal.
  • Linear motif is usually created by the orientation of lines.
  • Squinting can help identify the linear motif created by orientation.
  • The diagonal line is the most intense, the vertical line is less intense, and the horizontal line is the least dynamic.
  • Contrast of orientation can occur within a shot or from shot to shot.
Direction
  • Direction refers to the angle of lines or tracks created by moving objects.
  • Objects can move in eight directions on the screen.
  • Affinity of direction occurs when objects move in the same direction.
  • Contrast of direction occurs when objects move in different directions.
  • Contrast or affinity of direction can occur from shot to shot.
Quality
  • Quality of line refers to its linear (straight) or curvilinear (curved) nature.
  • Straight lines are associated with: direct, aggressive, bland, honest, industrial, ordered, strong, unnatural, adult, and rigid.
  • Curved lines are associated with: indirect, passive, pertaining to nature, childlike, romantic, soft, organic, safe, and flexible.
  • Contrast of straight and curved lines increases visual intensity.
  • Affinity of straight lines keeps visual intensity low.
  • Other aspects of line, such as thick/thin or continuous/broken, have less effect on contrast and affinity.
  • Orientation, direction, and quality are most useful for filmmakers.

Shape

  • Basic shapes are the circle, square, and equilateral triangle.
  • Shapes can be two-dimensional (flat space) or three-dimensional (deep space).
  • The circle, square, and triangle are two-dimensional, while the sphere, cube, and three-sided pyramid are three-dimensional.
  • A shape is basic if its unseen sides can be predicted correctly by examining the visible sides.
  • The cylinder and cone are not basic shapes.
  • Basic shape differences must be easy to see.
  • The circle, square, and triangle are visually different and useful.
Basic Shape Recognition
  • Any object can be categorized into one of the three basic shapes by reducing it to a silhouette.
  • Cars can be categorized based on basic shapes:
    • Circular shapes are considered friendly or cute.
    • Square shapes possess visual stability and solidity.
    • Triangular shapes are dynamic due to their diagonal lines.
Emotional Characteristics of Shapes
  • Rounded shapes: indirect, passive, romantic, pertaining to nature, soft, organic, childlike, safe, and flexible.
  • Square shapes: direct, industrial, ordered, linear, unnatural, adult, and rigid.
  • Triangular shapes: bold, aggressive, dynamic, angry, menacing, scary, chaotic, disorienting, and unorganized.
Contrast and Affinity Among Shapes
  • Circle and triangle have maximum contrast among two-dimensional shapes.
  • Sphere and three-sided pyramid have maximum contrast among three-dimensional shapes.
  • Combining two- and three-dimensional shapes, maximum contrast is best created by the sphere and the triangle or the circle and the three-sided pyramid.
  • An example of contrast of shape: triangles contrasting with squares.
  • An example of affinity of shape: all shapes in the shot being squares.
  • Contrast and affinity of shape can occur from shot to shot or from sequence to sequence.

Controlling Line and Shape during Production

  1. Squint: Recognize the lines in locations and pictures, as most lines are vertical and horizontal (architecture).
  2. Evaluate the lighting: Control line through lighting, as line exists because of tonal or color contrasts.
  3. Stage movement carefully: Moving objects create horizontal, vertical, or diagonal lines or tracks, each communicating a different visual intensity.
  4. Create a linear motif storyboard: Plan shots based on line orientation to orchestrate intensity changes.
  • Shape control requires careful examination of an object’s silhouette.
  1. Evaluate the shapes:
    • Actor: Determine the basic shape of the actor and wardrobe in silhouette.
    • Scenery: Define lines to discover shapes (horizontal/vertical = squares/rectangles, diagonal = triangles).
    • Set dressing: Define the basic shape of furniture and other set dressing.
  2. Control the lighting: Lighting can change or emphasize the basic shapes of objects.
  3. Simplify: Emphasize similarities and differences for the audience using lens choice and camera angle.

Films to Watch

  • Linear Motif
    • Driving Miss Daisy (1989): Uses a horizontal and vertical motif.
    • Natural Born Killers (1994): Uses a diagonal motif to parallel the mental state of characters.
  • Shapes of Spaces
    • The Conformist (1969): Emphasizes the shape of spaces, changing its use of shape in each sequence.
    • The Shining (1980): Emphasizes triangular shapes through one-point perspective.
    • Sexy Beast (2000): Architecture of the house and pool create the basic linear motif. The sparse set dressing makes the architectural structure even more important.