LESSON 6 A quality that ascribed to lines is its ability to direct the eyes to

follow movement or provide hints as to a work’s focal point.

ELEMENTS AND PRINCIPLES OF ART
A. HORIZONTAL AND VERTICAL LINES – refers to the
orientation of the line. Horizontal lines are normally
associated with rest or calm. It also alludes to position of the
ELEMENTS OF ART: VISUAL reclined body at rest. Vertical lines, on the other hand, connote
These elements of art are generally produced when elevation or height, which is usually taken to mean exaltation
something is done to the medium after the technique is carried or aspiration for action. Together, these lines communicate
out. It must be underscored, however, that all works of art stability and firmness.
require all elements to be presented. Some arts forms also B. DIAGONAL AND CROOKED LINES – diagonal lines
necessitate some of the elements as they are inherent in the convey movement and instability, although the progression
very nature of them. can be seen. Crooked or jagged lines, on the other hand, are
For example, sculptures automatically have the reminiscent of violence, conflict, or struggle.
following elements with or without the decision of the artist to C. CURVED LINES – these are lines that bend or coil. They
include them: shape, form, and space. Without these elements, allude to softness, grace, flexibility, or even sensuality.
there is no sculpture to begin with. Elements are the necessary
preconditions for the art. One of the most important Spanish artists is Francisco de
Goya. Known for his prints, he is a master of etched works
To enumerate, the elements of art and design are the and use of aquatint. He made use of his medium to articulate
following: line, shape and form, space, color, and texture. his political views about the ills of society, war scenes, and
1. LINE even the dreamlike and grotesque while still engaging with
what was happening around him. As with most etchings and
A line refers to a point moving at an identifiable path-it other types of prints, lines, are dominant visual components.
has length and direction. It also has width. It is one-
dimensional, however, it has the capacity to either define the
perimeters of the artwork (edges) and/or become a substantial
component of the composition. Although a line is “simple,” it
has variations in view of its orientation/direction, shape, and
thickness. These variations import not only the visual elements
into the artwork, but suggest meaning or message being
conveyed by the artist.
 Lines may not necessarily be explicit or literally shown. As Two categories can be used as a broad distinction:
what many examples will portray, implied lines may be just as
A. GEOMETRIC- these shapes find origin in mathematical
powerful, if not more. In “THE RAFT OF MEDUSA,” the
propositions. As such, its translation and use are often
position and orientation of the bodies that are aboard the raft
man-made. These include shapes such as squares,
are predominantly diagonal in direction. This creates not only
triangles, cubes, circles, spheres, and cones, among
movement but also tension in the scene. Based on the actual
others.
event, the painting depicts the 1816 wreckage of the French
government ship called MEDUSA. B. ORGANIC- organic shapes are those readily occurring
in nature, often irregular and asymmetrical.

Shapes may also be implied. For instance, Raphael’s

famous painting “THE MADONNA OF THE MEADOWS”
depicts three figures: Mary, the young Jesus (right), and the
young John the Baptist (left). The positions in which the group
takes allude to a triangular shape reinforced by the garb of
Mary.

2-3. SHAPE AND FORM

These two are related to each other in the sense that they
define the space occupied by the object of art. Shape refers to
two dimensions: height and width, while Form refers to the
three dimensions: height, width, and depth. Even shapes are
part of a bigger picture, each can be identified by breaking the 4. SPACE
visual components apart and making distinctions based on
what we know and what we have seen. Related to shape and form is space. It is usually
inferred from a sense of depth, whether it is real or simulated.
Real space is three- dimensional, sculpture are a perfect
example of artworks that bear this element . However, this can
only be manifested in (or non –use )of area around a drawing  Primary- red, yellow, and blue
or picture.
 Secondary colors – green, orange, and
POSITIVE AND NEGATIVE SPACE – usually identified with violet
the white space is negative space. The positive space where
 Tertiary colors – six in total , these hues
shadow is heavily used .
are achieved when primary and
THREE–DIMENSIONAL SPACE – can be simulated through a secondary colors are mixed.
variety of techniques such as shading. An illusion of three-
dimensionality can be achieved in a two- dimensional work.
B. VALUE – This refers to the brightness or darkness of color.
5. COLOR
Often, this is used by artists to create the illusion of depth and
Color is perhaps one of the elements that enhance the solidity, a particular mood, communicate a feeling, or in
appeal of an artwork. Its effect has range, allowing the viewer establishing a scene. (e.g., day and night).
to make responses based on memory, emotion, and instinct,
LIGHT COLORS–taken as the source of light in the
among others.
composition.
 This element is property of light, as reflected off the
DARK COLORS-the lack or even absence of light.
object.
TINT–this is the lighter color than the normal value
 Color is not intrinsic to an object and without light, one
(e.g., pink for red)
cannot perceive color.
SHADE–this is the darker color than the normal value
 Color begins with the notion of the Color Theory that
(e.g., maroon for red)
was first unraveled by the experiments undertaken by
Isaac Newton in 1666. C. INTENSITY –this is the color’s brightness or dullness. It is
identified as the strength colors, whether is vivid or muted.
 The color wheel corresponds to the first property of
color, hue . BRIGHT OR WARM COLORS – positive energy.
The color wheel corresponds to the first property of color, DULL OR COOL COLORS – sedate/soothing,
hue . seriousness or calm .
A .HUE – This dimension of color gives its name . It can be
subdivided into
COLOR HARMONIES
MONOCHROMATIC HARMONIES – use the variations of a
hue.

Edgar Degas “Before The Race”

6. TEXTURE –Like space, texture can be either real or implied.

Claude Monet “Houses of Parliament” This element in an artwork is experienced through the sense
of touch (and sight). This element renders the art object tactile.
COMPLEMENTARY HARMONIES – involve two colors
opposite each other in the color wheel. Since they are at A.TEXTURES IN THE TWO-DIMENSIONAL PLANE -
contrary positions, the reaction is most intense. texture can be implied using one technique or a
combination of other elements of art .

B. SURFACE TEXTURE – refers to the texture of the

three-dimensional art object .

Cima Da Conegliano (Giovanni Battista Cima) “Three

Saints: Roch, Anthony Abbot, And Lucy”

ANALOGOUS HARMONIES – make use of two colors beside PLANES AND PERSPECTIVE
each other in the color wheel.
Some arts forms work actual spaces, such as sculptors,
architects, and stage designers.
 However, with pictorial art that is two-dimensional, notions
of depth and hence perspective requires the implementation of
principles and techniques in creating an illusion that will fool
the eye to three-dimensionality when in reality there is none.

In the fifteenth century, chiaroscuro was developed. It

made use of light and dark contrasts and tones in which
paintings not only looked three-dimensional, but also more
2.TWO-POINT PERSPECTIVE - pertains to a painting or
dramatic. Linear perspective changed the way pictorial
drawing that makes use of two vanishing points, which can be
presentation was done.
placed anywhere along the horizon line. It is often used in
In the fifteenth century, CHIAROSCURO was developed. It depicting structures such as houses or buildings in the
made use of light and dark contrasts and tones in which landscape that are viewed from a specific corner.
paintings not only looked three-dimensional, but also more
dramatic. Linear perspective changed the way pictorial
presentation was done.

3.THREE-POINT PERSPECTIVE - in this type of perspective,

the viewer is looking at a scene from above or below. As the
name suggests, it makes use of the three vanishing points,
each corresponding to each axis of the scene.

THREE TYPES OF PERSPECTIVE

1.ONE-POINT PERSPECTIVE - often used in depicting roads,

tracks, hallways, or rows of trees; this type of perspective
shows parallel lines that seem to converge at a specific and
lone vanishing point, along the horizon line.

ELEMENTS OF ART: AUDITORY

 Music as an art form is classified as auditory art. However, * Rubato – literally “robbed time,” rhythm is played freely
some would argue that it is under the broad category of for expressive effect
performance art. Music much like the visual arts, has its own
2. DYNAMICS - The elements of music that refers to the
building blocks or elements.
loudness or quietness of music is dynamic.
One of the most widespread forms of art, whose
Classical terms are used to refer to the different levels
intersection in daily life is most perceptible, is music. Music is
pertaining to this:
sound organized in a specific time. It is considered an
implement to cultural activities, answering a specific role or * Pianissimo [pp]- very quit
function. Singing or dancing to music was also often included
* Piano [p] – quiet
in opportunities for members of society to gather and interact.
* Mezzo-piano [mp] – moderately quiet
THIS ARE THE COMMON ELEMENTS OF MUSIC
* Mezzo-forte [mt] – moderately loud
1.RHYTHM - is the element of music that situates it in time. It
is the pulse of music. Beat is the unit of music while tempo * Forte [f] – loud
refers to its speed (beats/second).Beats can be recognized into
* Fortissimo [ff] – very loud
a recognizable recurrent pattern, which is called the meter.
3.MELODY – refers to the linear presentation (horizontal) of
Classical terms are used to refer to the variation in tempo,
pitch. By horizontal, it means that in musical notation, it is
some of which are:
read in succession from left to right. Pitch is the highness or
* Largo – slowly and broadly lowness of musical sound.
* Andante – walking pace 4.HARMONY – harmony can be described in terms of its
“harshness”: dissonance is the harsh-sounding combination
* Moderato – at moderate speed
while consonance is the smooth-sounding combination.
* Allegro – fast
5.TIMBRE – is often likened to the color of music. It is a quality
* Vivace – lively that distinguishes a voice or an instrument from another.
Dependent on the technique, the timbre may give a certain
* Accelerando – gradually speeding up tone or characteristic to music, much like how a painter evokes
* Rallentado – gradually speeding down different effects or impressions onto the canvas.

* Allargando – getting slower, broadening 6.TEXTURE – The number of melodies, the type of layers, and
their relatedness in a composition is the texture of music.
 * Monophonic- single melodic line

* Polyphonic- two or more melodic line

* Homophonic- main melody accompanied by chords

PRINCIPLES OF ART
These principles will provide explicit ways in which these
elements are used, how they are manipulated, how they
interact, and how they inform the overall composition of the III. Radial – there is a central point in the composition, around
artwork to assist the artist in conveying his attention. which elements and objects are distributed.

It is the principles of art that influence the effect achieved by

the elements, and the linkages of other principles.

1. BALANCE – this principles refers to the distribution of the

visual elements in view of their placement in relation to each
other.

THERE ARE THREE FORMS OF BALANCE:

2. SCALE AND PROPORTION
I.Symmetrical – the elements used on one side are reflected to
the other. This offers the most stable visual sense to any work. SCALE– pertains to the size in relation to what is normal for
the figure or object in question.

II. Asymmetrical – the elements are not the same (or of the
same weight) on each side, putting the heaviness on the side.
PROPORTION – is the size of the components, or of objects in
relation to one another when taken as a composition or a unit.

C. Idealized – most common to those that follow canons of

perfection, the size-relations of elements or objects, which
achieve the most ideal size-relations.

PROPORTION CAN BE:

A. Natural– relates to the realistic size of the visual elements in

the artwork, especially for figurative artworks. When it is the
accuracy in relation to the real world that the artist is after, this
is now referred to as the principle of scale.

3. EMPHASIS

allows the attention of the viewer to a focal point(s),

accentuating or drawing attention to these elements or objects

B. Exaggerated – refers to the unusual size relations of visual

elements, deliberately exaggerating the immensity or
minuteness of an object. 4. CONTRAST
-simply defined as difference  UNITY- occurs when all the parts of the design or
composition are related by one idea.
-Contrast is the disparity between the elements that figure into
the composition.
 VARIETY- can
be created using
different
elements and
materials, as
long as they are
compatible with
each other.

8. MOVEMENT

 This is created when an element is repeated, creating

implied movement. Variety of repetition helps
invigorate rhythm as depicted in the artwork .

5. HARMONY

Like what is hinted above, unity and variety is related to the

principle of harmony, in which the elements or objects achieve
a sense of flow and interconnectedness.

 2 types of Harmony: UNITY & VARIETY

9. RHYTHM
This is created when an element is repeated creating implied ubiquitous example of patterns that virtually everyone is
movement. Variety of repetition helps invigorate rhythm as familiar with.
depicted in the art artwork .

10. REPETITION

Lines, shapes, colors and other elements may appear in an

artwork in a recurring manner. This is called repetition.

COMBINED OR HYBRID ART

 With the complexity of contemporary times in which
experimentation and innovation are encouraged, the
arts are not exempted from the increasing overlaps,
merger, and fusion of different aspects of art
production and their resultant consumption.

 One of the buzzwords at the tail end of twentieth

century is INTERDISCIPLINARY.

 In contemporary art, these developments were

11. PATTERN
mirrored in the multifaceted nature of artworks that
Patterns are nothing more than a repetition of multiple design were created. It is not surprising that themes, subjects,
elements working together. Wallpaper patterns are the most and the problematic addressed shaped and produced
 new kinds of articulation in which two or more arts  Another movement that reminiscent of the motivation
forms and styles are combined. of the Renaissance, and whose emergence is hinged on
the frontiers of science and technology, is called hybrid
EXAMPLES:
arts.
Dance, Theater, Installation art, Film, Video art, Documentary,
 HYBRID ARTS are driven by the expansion of the
Photography, Puppertry, Design
imagination and what is possible through the
 These combined art forms are interesting specimens “blistering pace of scientific and technological
that can be studied to understand what art forms and development” (Pirma, 2014).
styles have been combined.

 Combined arts, the artist is challenged to deconstruct

an idea or stimulus, from which the content, narrative,
technique, art form, and styles will take form.

 Often improvisation or inventiveness necessary to

create an artwork that is to some extent unprecedented.

 As different art forms and styles are tapped,

inspiration, may come from numerous sources, and
documenting the process of fusing these influences
may be part of the production. A clear example of
combined art is a theatrical performance that taps into
many art forms such as music, 2D and 3D art,
literature,. Lighting and set design, among others.