Sometimes a sensory composite point arises not only from colour, shape and arrangement but also from motion. Bending, straightening, swaying and moving in different directions can alter the visual structure of the whole.
A scene of something expanding and contracting cannot be adequately described merely as “long and round” if the temporal sequence is what makes the image expressive. Movement itself may be essential to the point.
Two useful questions are whether the motions occur together or in a meaningful order, and whether shape or colour contributes to the overall scene. If so, the completed configuration should be explained, not a detached list of qualities.