Republic of the Philippines

CAMARINES NORTE STATE COLLEGE

F. Pimentel Avenue, Brgy. 2, Daet, Camarines Norte – 4600, Philippines

College of Arts and Sciences

Lesson 6

Elements and Principles of Art

Objectives:

At the end of this lesson, students will be able to:

1. Enumerate the different elements of visual and auditory art;

2. differentiate the principles of art;
3. provide examples of the interrelatedness of some of the elements and principles of art;
4. explain the relevance of the elements and principles of art in the study of art and its
products (artworks); and
5. illustrate examples of hybrid art and dissect what art forms ate combined therein.

Discussion

Taking off from the scientific reference, elements of art are akin to the atoms that are
defines as the units or "building blocks" of matter. Together, in a variety of combinations and
formations, they have the ability to create molecules such as water, or the more complex sucrose.
These formulations are almost the same with elements of arts when they are joined together, in a
variety of ways. In the same line of reasoning, the elements of art are the aspects of an artwork that
can be isolated from each other.
These elements of art are generally produced when something is done to the medium after
the technique is carried out. It must be underscored, however, that all works of art require all
elements to be present. Some art forms also necessitate some of the elements as they are inherent in
the very nature of them. For example, sculptures automatically have the following elements with or
without the decision of the artist to include them: shape, form, and space. Without these elements,
there is no sculpture to begin with. Elements are the necessary preconditions for the creation of art.
To enumerate, the elements of art and design are the following: line, shape and form, space,
color, and texture.
1. Line
A line refers to a point moving at an identifiable path-it 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.

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Known for using lines to provide the outline or contour of the figures he portrays in his
work, Keith Haring first executed the public mural "Todos juntos podemos parar el sida" (Together
We Can Stop AIDS) in Barcelona in 1989. In 2014, it was recreated at the foyer of the Museu d'Art
Contemporani de Barcelona (Barcelona Museum of Contemporary Art) to commemorate it. Haring
battled with HIV/AIDS to which he succumbed to in 1990
A quality that is ascribed to lines is its ability to direct the eyes to follow movement or
provide hints as to a work's focal point. The orientation in which we are most accustomed to such as
the assertive force of gravity grounding objects, or the sideways or up-and-down vibration that
informs us of an earthquake, the gustiness of wind from the window, or the direction of the rainfall
conjures different images of lines.
Horizontal and vertical lines – refers to the orientation of the line. Horizontal lines are
normally associated with rest or calm. Landscapes often contain these elements as works like these
often connote a visual sense of being parallel to the ground. It also alludes to position of the
reclined body at rest. Vertical lines, on the other hand, connote elevation or height, which is usually
taken to mean exaltation or aspiration for action. Together, these lines communicate stability and
firmness.
Diagonal and crooked lines – diagonal lines convey movement and instability, although the
progression can be seen. Crooked or jagged lines, on the other hand are reminiscent of violence,
conflict, or struggle.
Curved lines – these are lines that bend or coil. They allude to softness, grace, flexibility, or
even sensuality.
One of the most important Spanish artists is Francisco de Goya. Known for his prints, he is
a master of etched works and use of aquatint. He made use of this medium to articulate his political
views about the ills of society, war scenes, and even the dreamlike and grotesque while still
engaging with what was happening around him. As with most etchings and other types of prints,
lines are dominant visual components.
Lines may not necessarily be explicit or literally shown. As what many examples will
portray, implied lines may be just as powerful, if not more. In “The Raft of Medusa,” the position
and orientation of the bodies that are aboard the raft are predominantly diagonal in direction. This
creates not only movement but also tension in the scene. Based on an actual event, the painting
depicts the 1816 wreckage of the French government ship called Medusa.
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 three
dimensions: height, width, and depth. Even if shapes are part of a bigger picture, each can be

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identified by breaking the visual components apart and making distinctions based on what we
know and what we have seen. Two categories can be used as a broad distinction.
Geometric – these shapes find origin in mathematical propositions. As such, its translation
and use are often man-made. These include shapes such as squares, triangles, cubes, circles,
spheres, and cones, among others.
Organic – organic shapes are those readily occurring in nature, often irregular and
asymmetrical. The design of the vase in Figure 55 is foliage, a sample from a series that made use
of morning glories.
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 Baptists
(left). The positions in which the group takes allude to a triangular shape reinforced by the garb of
Mary.
Space
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. Like what has been previously mentioned,
sculptures are a perfect example of artworks that bear this element. However, this can only be
manifested in two-dimensional artworks through the use of different techniques, or the use (or non-
use) of area around a drawing or picture.
In the middle of AT&T Plaza at the Millennium Park in the Loop Community area in
Chicago, the iconic “Cloud Gate” occupies a considerable space. Shaped like a bean, hence its
other referent, the public sculpture was unveiled in 2004. The dent in the middle offers a gap in
which people can pass through and gaze at the sculpture in a different perspective.
However, not all works are sculptures. In two-dimensional artworks, they may be implied:
Positive and negative space – usually identified with the white space is the negative space.
The positive space, on the other hand, is the space where shadow is heavily used.
Three-dimensional space – can be simulated through a variety of techniques such as
shading. An illusion of three-dimensionality can be achieved in a two-dimensional work.
Color
Color is perhaps one of the elements that enhances the appeal of an artwork. Its effect has
range, allowing the viewer to make responses based on memory, emotion, and instinct, among
others. This element is a property of light, as it is reflected off the object. Color is not intrinsic to an
object and without light, one cannot perceive color. Much of what we know about colors begins
with the notion of a Color Theory that was first unraveled by the experiments undertaken by Sir

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CAMARINES NORTE STATE COLLEGE
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Isaac Newton I 1666. A ray of sunlight passing through a prism reveals an array of colors akin to
that of a rainbow.
An upshot of this color theory is the creation of a color wheel,
The color wheel corresponds to the first property of color, hue.
Hue – this dimension of color gives its name. It can be subdivided into
Primary colors – red, yellow, and blue
Secondary color – green, orange, and violet
Tertiary color – six in total, these hues are achieved when primary and secondary colors are mixed
Value – this refers to the brightness or darkness of color. Often, this is used by artists to create the
illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene
(e.g. day and night).
Light colors – taken as the source of light in the composition
Dark colors – the lack or even absence of light
However, we can identify the color even when a range is presented to us Expectations are also
established based on the notion that yellow is within the light value, whereas, violet is in the dark.
Each primary color has a range of values based on the addition and diminishing quantity and
quality of light.
Tint – this is a lighter color than the normal value (e.g., pink for red)
Shade – this is a darker color than the normal value (e.g., maroon for red)
Intensity – this is the color's brightness or dullness. It is identified as the strength of color, whether
it is vivid or muled. To achieve a specific intensity of a color, one may add either gray or its
complementary color.
Bright or warm colors – positive energy
Dull or cool colors – sedate/soothing, seriousness or calm
To better understand intensity of color, color harmonies are to be considered In interior design, we
often hear designers refer to color schemes-a guide for selecting not only wall paint but also
furniture and decor However, color harmonies are also integral considerations not only for pictorial
arts but also for other art forms.

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Monochromatic harmonies – use the variations of a hue. An example is Claud Monet's "Houses of
Parliament."
Complementary harmonies – involve two colors opposite each other in the color wheel. Since they
are at contrary positions, the reaction is most intense.
Notice the altar piece featuring Saint Anthony Abbot and Saint Roch (Figure 60). Along with them
is Saint Lucy, patron of the blind, whose red and green garb beautifully showcases an example of
complementary harmonies.
Analogous harmonies – make use of two colors beside each other in the color wheel.
Other harmonies have emerged such as triadic harmonies, which make use of three colors
from equidistant sites within the color wheel. This however, does not mean that artists will limit
themselves to these kinds of harmonies. These are but jump-off points that artists and other creative
use.
All in all, color presents a multitude of possibilities that affects how works of art are taken
in by the viewer Just taking a look at fiery and passionate reds of the clouds and the sky in Edvard
Munch's “The Scream”, would bring oneself to ask Did Munch depict a romantic sunset or a
warning of coming horrors? A clue is not in the colors alone, but rather, in the face of the man
himself that is prominent in the painting His shriek would point to the latter. What is illustrated is
that colors and imagery work together to deliver a message, whether the one intended by the artist,
or what is facilitated by our own experiences.
Texture
Like space, texture can be either real or implied. This element in an artwork is experienced through
the sense of touch (and sight). This element renders the art object tactile.
Often, texture is commonly associated with textiles. In the portrait rendered by court painter Frans
Pourbus the Younger, Princess Margherita's garb is adorned in opulent bead and stitch work that
are befitting her rank. This was achieved using the techniques employed by the artist in creating the
work.
Textures in the two-dimensional plane texture can be implied using one technique or a combination
of other elements of art. By creating this visual quality in the artwork, one can imagine how the
surface will feel if it was to be touched Some of the words used to describe texture are the
following rough or smooth, hard or soft, hairy, leathery, sharp or dull, etc. To be able to simulate
the texture of a surface in a flat, two dimensional plan is one important skill that an artist must be
familiar with, especially if his idea or concept necessitates it.
Surface texture refers to the texture of the three-dimensional art object.

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The elements of art make it possible to engage with the visual and tactile qualities of the artwork
through a "common language" that may be widely understood. Through these elements, there is
something from which the idea, concept, message, or intended mood of the artist may be inferred.
It offers a starting point or a baseline from which analysis may take place. This kind of analysis is
called formal analysis of art.
Planes and Perspective
Some art forms work with 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. Picture plane is the actual surface of the
painting or drawing where no illusion of a third dimension exists. Here, the elements lay flat, as if
one was looking through a window into what lies on the other side of the glass.
During the Renaissance, specifically 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 dramatic. Aside from this technique, linear perspective changed the way pictorial
representation was done. Credited to Renaissance artists, its early proponents include Leon Battista
Alberti, Paolo Uccello and architect Filippo Brunelleschi in the early fifteenth century, who were
published in Alberti's On Painting in 1435.
Its use was based on the following observations:
As forms and objects recede, the smaller they become.
We were taught that parallel lines never meet. However, when they, too, seem to converge when
they recede into a distance, at a point they both disappear. This point of disappearance is called the
vanishing point.
An example often used to illustrate linear perspective is the railroad where tracks disappear off at a
distance.
A viewpoint may also be construed as normal (view standing up), low (view from a lower angle),
or high (view looking down on a scene) depending on the position the viewer takes.
There are three types of perspective, grounded on the number of vanishing points used by the
artist:
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.

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Two-point perspective – pertains to a painting or drawing that makes use of two vanishing points,
which can be placed anywhere along the horizon line. It is often used in depicting structures. Such
as houses or buildings in the landscape that are viewed from a specific corner.
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.
Elements of Art: Auditory
Together with literature, music as an art form is classified as auditory art. However, some would
argue that it is under the broad category of performance art. Either way music, much like the visual
arts, has its own building blocks or elements.
Perhaps one of the most widespread forms of art, whose intersection in daily life is most
perceptible, is music. Music is sound organized in a specific time. It is considered an implement to
cultural activities, answering a specific role or function. During the times when man had to hunt for
food, music was used as a corral to herd animals, or as an element of specific rituals or rites.
Singing or dancing to music was also often included in opportunities for members of society to
gather and interact. Some are adept with the skill and sense to produce music, while others
consume it as listeners, audiences, and even performers
If there is an important quality that music has, it is having the capacity to transcend barriers, even
that of differences in language or conventions in sound. Different demographics, groups, and
individuals may have specific preferences as to the genre of music. However, in order to establish
this preference, listeners often take to its elements for its evaluation. Some of the common elements
of music are the following rhythm, dynamics, melody, harmony, timbre, and texture.
Rhythm
Often associated to the terms beat, meter and tempo, rhythm is the element of music
that situates it in time. It is the pulse of the music. Beat is the basic unit of music while tempo refers
to its speed (beats/second). Beats can be organized into a recognizable recurrent pattern, which is
called the meter.
Classical terms are used to refer to the variations in tempo, some of which are:
Largo – slowly and broadly
Andante – walking pace
Moderato – at moderate speed
Allegro – fast

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Vivace – Iively
Accelerando – gradually speeding up
Rallentado – gradually slowing down
Allargando – getting slower, broadening
Rubato – literally “robbed time,” rhythm is played freely for expressive effect
Dynamics
The element of music that refers to the loudness or quietness of music is dynamics.
Classical terms are used to refer to the different levels pertaining to this:
Pianissimo [pp] – very quiet
Piano [p] – quiet
Mezzo-piano [mp] – moderately quiet
Mezzo-forte [mf] – moderately loud
Forte [f] – loud
Fortissimo [ff] – very loud
When composers indicate an increase, or decrease in loudness, they use the terms crescendo for the
former, and decrescendo or diminuendo for the latter.
Melody
Melody refers to the linear presentation (horizontal) of pitch. By horizontal, it means
that in musical notation, it is read in succession from left to right. Pitch is the highness or lowness
of musical sound.
Harmony
If melody is horizontal, harmony is vertical. It arises when pitches are combined to form chords.
When several notes are simultaneously played this refers to a chord. Harmony can be described in
terms of its "harshness” dissonance is the harsh-sounding combination while consonance is the
smooth-sounding combination.
Timbre

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Timbre is often likened to the color of music. It is a quality that distinguishes a voice or
an instrument from another. Dependent on the technique, the timbre may give a certain tone or
characteristic to music much like how a painter evokes different effects or impressions onto the
canvas.
Texture
The number of melodies, the type of layers, and their relatedness in a composition is the texture of
music. It may be:
Monophonic – single melodic line
Polyphonic – two or more melodic lines
Homophonic – main melody accompanied by chords
Akin to artworks whose style, medium, and technique emphasize some of the elements in visual
arts, a composition and genre of music may emphasize the elements of music previously outlined.
Some elements may even be de-emphasized or omitted altogether. Like what was mentioned, these
elements may be isolated from each other. However, as visual or musical compositions, the
combination of these elements in art is what we initially engage with.
Most often, elements do not only coexist in the artwork, but are fused together or overlap with each
other. In visual arts, most artworks have overlapping elements.
Principles of Art
To reiterate, the appreciation and engagement of art relies substantially on being equipped with the
appropriate language that allows it to be more comprehensible. If the elements of art were like the
letters (i.e., combining these letters will form words, phrases, and sentences), then the principles of
art would perhaps be the closest to the rules of grammar and composition. Learning these
principles will lessen the intimidation and might even open vast possibilities for the novice looker
to have a more pleasurable experience 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 artwork to assist the artist in conveying his intention It is the principles
of art that influence the effect achieved by the elements, and the linkages of other principles These
principles are: balance, scale and proportion, emphasis and contrast, unity and variety, harmony,
movement, rhythm, and repetition and pattern.
Balance
This principle refers to the distribution of the visual elements in view of their placement in relation
to each other.

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There are three forms of balance:
Symmetrical – the elements used on one side are reflected to the other. This offers the most stable
visual sense to any artwork.
Asymmetrical – the elements are not the same (or of the same weight) on each side, putting the
heaviness on one side.
Radial – there is a central point in the composition, around which elements and objects are
distributed.
Scale and Proportion
Scale pertains to the size in relation to what is normal for the figure or object in question.
Sculptures of exaggerate scale are common all over the world as many artists are taken by the
whimsical quality of these objects. One cannot help but smile upon seeing them in public spaces In
the Philippines, Arturo Luz has created enormous sculptural versions of the paper clip. For a long
time, it occupied a prominent spot at the entrance of the Ayala Museum.
Proportion, on the other hand, is the size of the components, or of objects in relation to one another
when taken as a composition or a unit. This can also refer to values such as amounts or number of
elements or objects in the composition.
One of the most common cannons asserted relates to the proportion of the body. This varies from
one culture or tradition to another. For the Egyptian artists, the human form follows a square grid
and is informed by the palm of the hand as a unit of measure. To complete a standing human
figure, 18 units (squares) are needed from head to foot. On the other hand, Greeks held that
numerical relationships-the golden ratio-was the key to beauty or to perfection In the golden ratio,
the figure is divided into two unequal segments wherein the smaller is the same ratio to the larger
segment, and that the longer segment is the same ratio in relation to the whole. In figures, it can be
valued at 1:1.618
Leonardo da Vinci's "Vitruvian Man" is an exploration on the ideas of the Roman architect
Vitruvius, in which the human body is an example of a classical proportion in architecture. For da
Vinci, man's body can be used to better understand the symmetry that exists in nature and the
universe.
Proportion can be:
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.

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Exaggerated – refers to the unusual size relations of visual elements, deliberately exaggerating the
immensity or minuteness of an object.
In relation to this, there are notions in scale that differentiate when an element is smaller than
expected (diminutive), and when something appears to be larger than what is presumed
(monumental).
Idealized – most common to those that follow canons of perfection, the size-relations of elements
or objects, which achieve the most ideal size-relations.
3-4. Emphasis and Contrast
Emphasis allows the attention of the viewer to a focal point(s), accentuating or drawing attention to
these elements or objects. This can be done through the manipulation of the elements or through
the assistance of other principles, especially that of contrast.
Contrast is the disparity between the elements that figure into the composition. One object may be
made stronger compared to other objects (hence, emphasis). This can be done in many ways using
the elements of art. For instance, space, specifically the use of negative and positive space, is an
example of contrast. Another example is the use of complementary colors in a work of art.
5-6. Unity and Variety
Unless intended to be otherwise, compositions are intended to imbue a sense of accord or
completeness from the artwork. This is unity.
Variety, on the other hand, is the principle that aims to retain the interest by allowing patches or
areas that both excite and allow the eye to rest.
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.
Movement
This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas
or elements that are emphasized. These focal points can be lines, edges, shape, and color within the
work of art, among others.
Rhythm
This is created when an element is repeated, creating implied movement. Variety of repetition
helps invigorate rhythm as depicted in the artwork.

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10-11. Repetition and Pattern
Lines, shapes, colors, and other elements may appear in an artwork in a recurring manner This is
called repetition In addition, the image created out of repetition is called pattern, With repetition,
there is a sense of predictability that is conveyed, which in turn imbues the feelings of security and
calmness.
Combined or Hybrid Art
Looking at the elements and principles of art previously discussed, it is apparent that art may be
defined under strict lines that separate one art form or style to another. In a broad sense, it is easy to
decipher visual arts from auditory arts. In the same vein, when looking at more specific art forms,
there is a considerable ease when one is confronted with the challenge of differentiating a painting
from a sculpture, a print from a drawing, or a soundtrack from a poem. However, 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 the twentieth
century is interdisciplinarity. Rooted on the realization that the problems of society are becoming
more and more complex, it is necessary that solutions become innovative, wherein alternative
routes to what is familiar, common, and customary are given premium It was also a direct upshot of
postmodernist ideas in which barriers were more porous-strict delineation of art forms was
overthrown to make way for collaborations and partnerships between fields, professionals, and
creative. The idea of a single- medium-based art seems like a strange past that no longer holds in an
interdisciplinary reality we live in.
In contemporary art, these developments were mirrored in the multifaceted nature of artworks that
were created. It is not surprising that themes, subjects, and the problematique addressed shaped and
produced new kinds of articulation in which two or more art forms and styles are combined. Some
examples of combined arts include dance, theater, installation art, film, video art, documentary,
photography, puppetry, design, and other forms of production.
These combined art forms are interesting specimens that can be studied to understand what art
forms and styles have been combined, and furthermore, what skills, techniques, or creative
processes can be put together to produce interesting and innovative compositions. In combined arts,
improvisation is often tapped in addition to practical and logical considerations of creating an
artwork. From a specific vista of an art form, there is a seeming road map to creation. However, in
combined arts, the artist is challenged to deconstruct an idea or stimulus, from which the content,
narrative, technique, art forms, and styles will take form. Often improvisation or inventiveness is
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.

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Another movement that is reminiscent of the motivations of the Renaissance, and whose
emergence is hinged on the frontiers of science and technology, is called hybrid arts. Referencing
and tapping into the fields of robotics, artificial intelligence, biotechnology, natural and computer
sciences, telecommunications, information, digital and interface technologies (software programs,
speech and face recognition, social media and online platforms, among many other emergent
developments), artists whose works tread under this movement disrupt the norms in terms of what
is considered as art, and even the way people envisage artistic production. More than anything else,
hybrid arts are driven by the expansion of the imagination and what is possible through the
"blistering pace of scientific and technological development” (Pirma, 2014). At its heart is an
inquiry-and through information and data, the capacity of the artist to move around platforms, and
the implementation and manipulation of newfound tools in production, the artist is able to address
that inquiry.
In any art appreciation course, the module or lesson on the elements and principles of art are
considered one of the most rudimentary stages in easing the student into a meaningful experience
with art, regardless of its form. A familiarity with these building blocks of composition and formal
analysis will aid the viewer in his or her attempt to come into terms with the intention of the artist.
The elements and principles of art are essential to any artwork. Some of them will be more obvious
than others, becoming the anchors in which the viewer may latch on to engage with the artwork.
The focal point(s) that draw the attention of the viewer is also interesting to note, as this provides
insight as to the interests and values that are of most weight to him or her. These perhaps will help
create a bridge in which a person, who may not normally find pleasure in looking at art, may
consider future engagements with it In short, familiarity of the elements and principles has the
potential to break the barriers in which art becomes ineffable.

Evaluation

(see attached activity sheet)

References:

Caslib, Bernardo Nicolas. 2015. Art Appreciation. Quezon City: Rex Book Store, Inc.

Prepared by:

Carlo A. Razonable
Instructor

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