LANGUAGE OF ART:

ELEMENTS & THE PRINCIPLES

OF DESIGN
 04 ELEMENTS OF ART

TABLE OF 04 • LINE ELEMENT

CONTENTS 16 • SHAPE, FORM, & SPACE

32 • COLOR

50 • TEXTURE
 56 PRINCIPLES OF DESIGN

58 • RHYTHM, PATTERN &

TABLE OF
MOVEMENT

65 • BALANCE
CONTENTS
76 • PROPORTION
83 • VARIETY, EMPHASIS,
HARMONY, & UNITY
ELEMENTS OF ART

1. LINE ELEMENT

• Nature of Line
• Types of Lines

• Expressions of Lines
NATURE OF LINE
• A line is an identifiable path created by a
point moving in space.

• It is one-dimensional and can vary in width,

direction and length.

• Lines can be slim or thick depending on your

approach. Essentially, lines provide a one-dimensional
theme to the piece of artwork.
• Dimension, in this regard, is the amount of space the
line takes up in a particular art. To make lines two
dimensional, they need to have an impression of
height and depth.

• Some lines are even implied in application, such as a

series of dots or dashes, they create impressions of
implied lines.
TYPES OF LINES
• Vertical Lines - their movement direction is upward or
downward.

• Horizontal Lines - the movement direction is from left

to right or vice – versa.

• Diagonal Lines - these are slanted lines. They create an

impression of rising or falling.
TYPES OF LINES

• Zigzag Lines - these are connected combinations of

diagonal lines. They create angular perspectives of lines.

• Curved Lines - these are lines that do not appear linear;

hence, directions are not clearly established.
LINES & VALUE
• Value is defined as the darkness or
lightness of an object or how much
light the surface absorbs and
expresses light.
• Artists use the technique called
crosshatching, a technique using
crossed lines to create darker shades
of a line, to create darker themes or
value.
LINES & VALUE
• Different number types of pencils
can also be made to create
different line values.
 EXPRESSIONS OF LINES
a. Movement of Line

• Vertical and horizontal lines convey static and at rest

impressions. It may mean the lack of activity and
stability. Artist may use them to show dignity, formality
or stiffness.
• Horizontal lines, specifically, show the feelings of
permanence and solid foundation such as that of the
ground or floor. It portrays the feeling of calmness or
relax.

• Curved lines may show expression of relative activity. The

less active curve may indicate more calm or repetitive
feelings.
• Diagonal lines are used to express feelings of instability,
tension or excitement, which provides feelings of being
uneasy or discomfort. But can be altered when done with
symmetry.

• Zigzag lines have been used to create feelings of

confusion. Due to combinations of diagonal lines, they
may evoke feelings of too much excitement or anxiety
b. Countour Lines - these are applications of lines to
create edges or ridges of an object. These provide a
certain degree of separation from one object to
another.

c. Gesture Drawing - it emphasize the lines of the

hand, touching the face can convey feelings of anxiety
or worry. Or hands raising that are emphasized by lines
can be done to manifest feeling of excitement and
activity.
d. Calligraphic Drawing - Calligraphy means
beautiful handwriting. It is often associated with
writing Asian characters usually with Chinese,
Japanese, Korean and Thai language.
 SHAPE
• A shape is a two-dimensional
object in space that has height
and width.

• They are two – dimensional

because of the flat surface they
create.
 SHAPE

• Shapes can either be geometric

or free-form
• Geometric Shapes – these are accurately measured
shapes, hence, having mathematical bases.

• Free-form Shapes - these are the types of shapes

that are irregular in structure. They may be
characterized by some combinations of curves and
angles.
 FORM

• Forms are the three-

dimensional objects in
space and characterized
by its depth.
 SPACE
• Space refers to a hypothetical
area in which the subject of
art and other elements of art
operate.

• Impression of space can be

two or three-dimensional.
 SPACE

• In relation to shapes and

form, space allows them to
exist in space. So, space is also
assumed to be the empty
canvass where work and the
art can be accomplished.
Positive and Negative Space

• The shapes and forms of art are the positive

space of an art and the empty spaces are the
negative space.

• They are also called figure and ground.

Creating Shapes and Forms in Space

Illusions of Form by Using the Principle of Value

• Shapes and forms can also change their meaning and
expression by utilizing altered values.

• A technique called chiaroscuro can be used to magnify

an object, by employing light and dark values. It is an
Italian word that means bright (chiaro) and dark
(oscuro).
Illusions of Depth using Gestalt Principles of Perception

• Overlapping - the first objective covers a second

object. In effect, the first object becomes closer or
nearer to the viewer.

• Size - large objects often are perceived to be nearer

than the relatively smaller ones.
• Placement - objects placed on the lower plane of the
space create impression of them being nearer. The
more distant are those at the eye or top level of the
space.

• Detail - objects with clearer details are usually nearer

while those with finer and less details seem to be
farther.
• Color - brightly or vividly colored objects seem
nearer than the dull ones.

• Converging Lines - as parallel lines move away from

your point of view; they move closer to the horizon
which makes a perception of distance farther away
from you. The farthest convergence can be called
the vanishing point.
Expressive Qualities of Shape, Form and Space

a) Outline and Surface

• Outlines and variations in the surface may

bring different kinds of messages.

• For example, using free-form shapes may

express the presence of life and fluidity.
These could also symbolize calmness and
comfort.
• Angular shapes project the sharp and
jagged realities of the world. These could
mean pain, anxiety, or tension.

• Geometric shapes may even suggest

aspects of mechanical perfection. It
projects a certain sense of order and logic.
b) Density

• Density refers to the compactness of

the object. Dense materials tend to be
solid and heavy looking.
c) Openness

• Open shapes project invitation.

• Closed shapes and forms project more

solid and self-contained field of
perception.
d) Activity and Stability

• Active shapes are those that defy

gravity such as slanting or falling or
running shapes.

• Static shapes, on the other hand, seem

to be motionless and stable.
 COLORS
It is the aspect of any object
that may be described in terms of
hue, lightness, and saturation
(Britannica, 2024).
 COLORS
• In physics, color is associated
specifically with electromagnetic
radiation of a certain range of
wavelengths visible to the
human eye (Britannica, 2024).
 COLORS

• It has the most powerful

connection to human nature and
emotions.

• It makes lines, shapes, forms, and

space alive.
 COLORS

• Apparent in making more

variations to our perceptions
such as the colors of flowers,
the sky, paint of walls, and
even skin tones.
PERCEPTION OF COLOR

• One of the elements of art that is derived

from light and the different reflection of it.

• In psychophysics, colors are based on

white light, it passes through a prism, it
shall bend and create a prism or band of
colors. • These colors are waves that
activate the color reception of our eyes
called cones.
THREE PROPERTIES OF COLORS

1. Hue

• It refers to the origin of the colors

• primary colors (red, blue, and
yellow)
• secondary colors (purple, orange,
and green)
• intermediate or tertiary colors (blue – violet,
red – orange, yellow – green)
2. Value

• It describes the lightness and darkness of a color.

• To alter values, hues may be added with black or
white or with use of tints, tones and shade.

3. Intensity

• Refers to how bright or dull the use of hue.

• It can be high or low density such that in bright and
dull colors, respectively.
COLOR SCHEMES

• Organizing colors are part

of the planning phase in
the creation of art.
KINDS OF COLOR SCHEMES

Monochromatic Colors
• A technique where only one color is used.
Even the hue, tints and shade are consistent
all throughout.

Analogous Colors
• In analogous colored artwork, the hues used
are usually those that are side by side in the
color wheel and operate in a common hue.
Complementary Colors
• Complementary colors are used when
the theme of art is intended to create
strong expression of contrast.
• In theory, complementary colors tend to
establish a vibration with each other.
Color Triads
• From the name itself, art must be
focused on three general colors spaced
on equal intervals on the color wheel.
Split Complements
• A split complement is used when you
combine a hue with each side of its exact
complement.
• This now offers more variety and more
dynamics to color range and selection.
Warm and Cool Colors
• The color wheel can be divided into two
groups, namely, the warm and cool colors.
• The warm group contains the hues of red,
orange and yellow, while the cool colors
may range from blue, green and violet.
EXPRESSIVE QUALITIES OF COLORS

• Colors convey ideas, emotions

and actual behaviors. Its ability to
represent reality, something that
is more like how our senses see it.
Optical Color
• It is an artist approach to reproduce colors as they seem
to be.
• It intends to capture reality as it is and not a version or
impression of it.
Arbitrary Colors
• It gives justice to the indefinability of some subject
matters in art.
• In this sense, color is not only an element or a medium
to express art, but also the subject of art per se.
Space
• Together with lines, positioning colors have also been
used to create impressions of depth.
• Warm colors are believed to advance towards viewers
whilecool colors tend to recede (Ragans, 2005).
Movement
• Colors can create representations of movement as well.
• Contrasting vales create movement while values that
are close to each other tend to create gradual and
calmer flow (Ragans, 2005).
 TEXTURE
• In art refers to how the subjects and
objects of the piece feels if touched.

• It is an essential component in creating

the dynamics in the artwork by
showing that certain surfaces have
different feels according to their
nature.
Perceiving Texture
• Texture is perceived through the senses.

Tactile Texture Visual Texture

It is the feeling derived out

It is the illusion of
of touching a specific
texture.
object or art.
• In sculpture, texture can be considered as one of the most
useful cues for knowing the quality of a sculpture.

• Texture can be simulated or invented.

⚬ Simulated Texture – a two – dimensional piece is created
in such a way as to look like something it is not.
⚬ Invented Texture – a texture that is completely made up
by the artist, usually resembling a pattern or design
Texture and Value
• Art pieces may maximize the portrayal of
texture by using value, that is, when the
artist creates texture through light
reflection and shadowing (Ragans, 2005).
1. Rough and Smooth Texture

• Casting shadows and accepting light provides

impression of the shape and eventually its texture.

• For instance, a crooked and uneven shadow may

provide a rougher texture than formally shaded
ones.
2. Matte and Shiny Texture

• A matte surface reflects soft and dull light

while the shiny surface tends to reflect light
and project some spark or glow and when
exposed to light, it tends to create glares.
 PRINCIPLES OF
DESIGN
The principle of designs are a set
of rules that designers can follow when
creating a composition to create visually
pleasing work.
Rhythm, Pattern and Movement

• In art, it is a principle that is defined by the

repetition of elements or objects.
• This principle is also present in other forms of
arts such as music and poetry.
⚬ Musical rhythm is the measure of time
between musical sounds.
⚬ In poetry, the use of words, sounds, or
phrases create rhythmic patterns.
Visual Rhythm

• This is the kind of rhythm that is

created by the sense of sight
rather than the sense of hearing.
• This is observed in the repetition
of positive spaces or ground and
then separated by negative
spaces. In your surroundings,
patterns are apparent.
Pattern

• In principle of design, pattern is the

repetition of more than one design
element.
• Repetition focuses on a single element
being repeated, pattern refers to multiple
elements repeated throughout a design.
• In the aspect of clothing design, the most
common examples of pattern are stripes
that may be vertical or horizontal.
 Types of Rhythm and
Patterns
Arranging the patterns can
vary. Each variation may create a
different personality of the
artwork
Random
• Motifs may be placed randomly
across the space. This is
characterized by the lack of
regularity in the spaces in
between.
Regular
• Opposite to random patterns,
regular patterns are characterized
by having identical beats, motifs
and intervals of space between
them. In effect, you can observe a
steady beat across motifs. This is
best used when you pattern.
Alternating
• This type of rhythm employs two
types of beat or motive.
• First and second beats are usually
arranged in alternating distances or
intervals. Its applications include
flowing rhythms by repeating wavy
lines.
Progressive
• Progressive patterns or rhythms
portray change in beat every time
it is repeated.
• Accordingly, the changes are
steady. For each beat, they appear
slightly different with each other
 BALANCE
This is the principle of art by
ensuring that all elements of art are
accorded with equal force. Through
balance, arts tend to have a feeling of
organization and proper arrangement.
The absence or lack of balance may
project feelings of uneasiness and
instability.
Formal Balance

• When elements are shared equally in

both sides of the symmetry. It is the
most common type of balance in
producing art.
• Formal balance demonstrates equal
rigor, strength, or weight on each side
regardless of the number of elements
found each by symmetry. Another way
of calling this is bilateral symmetry.
Radial Balance

• This is a type of balance where the

design of the art piece radiates from
the central point and an outward
direction.
• Functional designs like wheels of
automobiles, gears and structured are
based on radial balance (Ragans,
2005).
Example

• Mandala is a representation
of personality in the theory of
Analytic Psychology of Carl
Jung. For him, a healthy
personality is defined by
balance of all forces, hence, a
radiating or radial balance.
Informal Balance

• Type of balance that is achieved

through an uneven distribution of
elements. Unlike formal balance,
which is symmetrical, informal
balance seeks to balance a
composition’s visual weight through
asymmetrical arrangements.
How to Present Informal
Balance in Art

Size and Contour

Color
Value
Texture
Position
Size and Contour

• Larger shapes tend to have more visual weight

compared to smaller shapes. However, a group of
smaller shapes can balance out a single larger shape if
arranged thoughtfully.

• Objects with complex appear heavier and more

interesting than those with simple contours. A small,
complex object can balance a larger, simpler object
Color

• Darker colors generally carry more visual weight than

lighter colors, making them appear heavier in a
composition. Bright and highly saturated colors also
draw more attention and thus have more visual
weight compared to dull or muted colors.
Value

• The concept of value is essential for achieving visual

harmony. Darker values tend to carry more visual
weight than lighter values, making them appear
heavier within a composition. High contrast between
values can create focal points that draw the viewer’s
eye, helping to balance other elements in the design.
Texture

• Rough or complex textures tend to appear heavier and

more visually engaging than smooth or simple
textures. High contrast between textures can create
focal points that draw the viewer’s eye, helping to
balance other elements within the composition.
Position

• The position of elements within a composition is

crucial for achieving visual harmony. Unlike formal
balance, where elements are mirrored on either side of
a central axis, informal balance relies on the strategic
placement of elements to create equilibrium. The
visual weight of an object can be influenced by its
position; elements placed further from the center of
the composition tend to carry more visual weight.
 PORPORTION
The principle of art that is mostly
concerned with how the sizes of
objects and some elements relate to
each other. The idea of proportion
started during the time of a Greek
Philosopher, Pythagoras who believed
that the world or the universe operates
on a constant mathematical equation.
Golden Mean - Mathematics

• The golden ratio is an irrational

number approximately equal to 1.618.
It occurs when a line is divided into
two parts such that the ratio of the
whole line to the longer part is the
same as the ratio of the longer part to
the shorter part.
Golden Mean - Philosophy

• In the teachings of Aristotle, the golden mean refers to the

desirable middle ground between two extremes, one of
excess and the other of deficiency. Aristotle’s concept of
the golden mean is about finding balance and moderation
in all aspects of life.
Vitruvian Man

• Leonardo da Vinci’s famous

illustration that exemplifies these
proportions. It shows a man in two
superimposed positions with his
arms and legs apart inside both a
square and a circle,
demonstrating the ideal human
body proportions based on the
golden ratio.
Scale

• The relative size of an object

measured from a standard
reference. This is different from
proportion in that the latter is a
measurement relative to other
elements of the space while the
former is based on a standard
measurement.
Based on the work itself

• Refers to the size of the entire piece in relation to its

environment or intended display space. This could
mean creating a large mural to cover an entire wall or
a small, intimate painting meant for close viewing.
Objects and elements within the design

• This internal scale determines how different

components of the artwork relate to each other in
size.
 VARIETY,
EMPHASIS,
HARMONY
AND UNITY
Variety

• The use of different elements and

contrasts to create interest and
prevent monotony. This helps break
the repetitive cycle and keeps the
viewer’s attention, making the
artwork feel more lively and
interesting.
Emphasis

• The principle that draws attention to the

most important parts of a composition.
Achieved by using various techniques
such as intense colors, defined contours,
and bold outlines to highlight specific
elements. This process ensures that these
elements stand out and become focal
points within the artwork.
Types of Visual Emphasis

a) Element
The element of art is deemed to be more
important while subordinating the other
elements. This focuses on a specific element
within the composition, such as a particular
shape, color, or object that stands out and draws
the viewer’s attention.
b) Area
An artwork's focal point is an emphasized
area. This specific area may be considered as
superior to other areas for it is expected to carry
the viewers' attention to that area. This
highlights a specific area within the overall
space of the composition.
Techniques in Emphasis

a) Contrast - achieved by contrasting hues,

intensity, and color values. For lines,
heavy shading and cross-hatching
emphasize the subject or area.

b) Isolation - technique of setting an

element apart from others to create
emphasis and draw attention to it.
c) Location - The center of a composition is
often considered the focal point in many
artworks. Placing subjects or objects in
the middle naturally draws the viewer’s
attention, creating emphasis.
d) Convergence - a more complex
technique that utilizes the elements to
point at a direction of a focal point. The
process of convergence directs the
viewers using elements to converge at a
focal point.
e) Unusual - most complex of the
approaches as bizarre and unexpected
approach can be made for emphasis.
This approach can be highly effective
because it breaks away from traditional
norms and surprises the audience,
making the focal point stand out even
more.
Harmony

• Unifies related elements into a cohesive

whole. In music, it blends complementary
notes for pleasant sounds. In visual art,
related elements create pleasing visuals.
Colors harmonize through contrast
techniques like complementarity, split
complements, or analogous colors. Shapes
achieve harmony by overlapping or
appearing related.
Unity

• The cohesive quality that

makes an artwork feel
complete and harmonious. It
ensures that all elements
within the composition work
together to create a unified
whole.
Considerations in Creating Unity

a) Simplicity - focuses on
eliminating unnecessary elements
to create a clear, straightforward
composition.
b) Repetition - involves using the same or
similar elements multiple times within
a composition. This technique helps to
create rhythm, unity, and consistency,
making the artwork feel cohesive and
balanced.
b) Proximity - principle of placing related
elements close together to create a
visual connection. This technique helps
to organize information, establish
relationships, and enhance the overall
coherence of the composition.
YOU