Republic of the Philippines

NORTHERN ILOILO POLYTECHNIC STATE COLLEGE

VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

Course Code : GE 6
Descriptive Title : ART APPRECIATION
Term and Academic Year : 1st Semester, AY 2024-2025
Professor : PROF. CELINA B. LAMPA

Module 3
The Elements of Art and Principles of Design
1.Introduction
The elements of art sort of like atoms in that both serve as “building blocks” for creating something.
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 art when they are joint
together, in a variety of ways.
Students who can identify the elements of art and evaluate their role and the composition of a work
of art will be better able to understand an artist’s choices. They will be equipped to address whether a work
of art is successful, and why.

Time Frame: 9 hours Date of Submission: ___________________

II. Learning Outcomes

Upon completion of this lesson, you must have:

1. Enumerate the different elements of visual and auditory art;
2. Differentiate the principle of art;
3. Explain the relevance of the elements and principles of art in the study of art and its products (artwork);

III. Learning Contents

Elements of Arts and Principles of Design

The Elements of Art: Visual

The elements of art are the basic components of art-marking. It is impossible to create a work of art.
In order to be successful in art creation, an artist must be able to intelligently use the elements of art.
Artwork can also be analyzed according to the use of elements in a work of art.
The elements of art and design are the following:
1.Line
A line is an element of art. It is a mark made upon a surface. In order to be a line, the mark’s length
must be longer than the 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.
Different Types of Lines
a. Horizontal and vertical lines – refers to the orientation of line.
Horizontal lines are normally associated with rest or calm.
Landscapes often contain these elements as work 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 connote the
elevation or height which is usually taken to mean exaltation or
aspiration for action. Together these lines communicate stability
and firmness.
b. Diagonal and crooked lines – diagonal lines convey movement
and
instability, although the progression can be seen. Crooked or jagged
lines are reminiscent of violence conflict or struggle.
c. Curved lines – these are lines that bend or coil. They allude the
softness, grace, flexibility, or even sensuality.

Francisco de Goya, “Porque escoderlos? (Why Hide Them?) (1797-99) Etching and aquaitint.

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

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.

Theodore Gericault, “The Ratt of Medusa” (1818-19) Oil on canvas

2. Shapes – These are areas of enclosed space that are two-dimensional. Shapes are flat, and can only have
height and width. The two different categories of shapes are:

a. Geometric – these shapes find origin in mathematical

propositions. As such its translation and use are often man-
made. These includes shapes such as squares, triangles,
cubes, circles, spheres, and cones, among others.

Piet Mondrian, “Composition with color Planes and Gray Lines 1” (1918) Oil on canvas

b. Organic – organic shapes are those readily occurring in nature, often

irregular and asymmetrical like clouds and leaves. The design of the
vase in picture is foliage, a sample from a series that made use of
morning glories.

Louis Comfort Tiffany (designer),

Tiffany Furnaces (Maker), Vase made of favrile glass

Shapes may also be implied. Raphael’s famous painting

“The Madonna of the Meadows” depicts three figures: Mary,
the young Jesus (right), and the Baptist (left). The position in
which the group takes allude to a triangular shape reinforced
by the grab of Mary.

Raphael, “The Madonna of the Meadows (1505)

Oil on panel.

3.Space – it deals with the illusion of depth of a flat surface. You might overlap shapes to make some look
closer, or make object in the distance smaller to look like they are farther away. The element of space can be
used in three-dimensional art as well. 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.

However, not all works are sculptures. In two-dimensional artwork, they may
be implied.

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

a. Positive and negative space – usually identify with the white space is the negative space. The
positive space is the space where shadows is heavily used.
b. Three-dimensional space – can be simulated through a variety of techniques such as shading. An
illusion of three dimensionally can be achieved in a two – dimensional work.
Anish Kapoot, “Cloud Gate” (2004), located in
Chicago, Illois

4.Color – is the most prominent element of design and is one of

the most powerful and yet subjective elements in art. This
element is the 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 the first unraveled by the
experiments undertaken by Sir Isaac Newton in 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.

COLOR WHEEL
The color wheel corresponds to the first property of color, hue
a. Hue – this dimension of color gives its name. It can be subdivided into:
 Primary colors – red, yellow, and blue
 Secondary colors – green, orange, and violet
 Tertiary colors – six in total, these hues are achieved when primary and secondary colors
are mixed
b. Value – This refers to the lightness and darkness of areas in an art work. Often, this is used by the
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). White is the lightest value, while black is the darkest. The
value halfway between these extremes is called middle gray.
However, we can identify the color even when 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)

c. Intensity – this is the color’s brightness or dullness. It is identified as the strength of color, whether
it is vivid or muted. 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
 Monochromatic harmonies - use the variations of a hue. An example is Claud Monet’s “Houses of
Parliament.”

Monet, “Houses of Parliament” (1900/0). Oil

on canvas

 Complementary harmonies – involve two colors opposite each other in the color wheel. Since
they are at contrary positions, the reaction is most intense.
 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.

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

All in all, color presents a multitude of possibilities that affects how works of art taken in by the
viewer. Just taking a look at fiery and passionate reds 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.

Edvard Munch, “The Scream” (1893). Tempera and casein on cardboard.

5.Texture – an element of art that refers to the way things feel, or look as if they might feel its touch. The
term texture describes the surface quality of an artwork. Texture is an important element of design because
it engages the sense of touch as well as vision. Objects can be rough or smooth, wet or dry, sticky or slick,
hard or soft, brittle or flexible. The two main approaches to texture are actual texture and implied or
simulated texture. Actual texture is primary – though not exclusively – sculptural, while implied
texture is primary used in two-dimensional works of art.

6. Form – An element of art that is three dimensional and encloses volumes; includes height, width and
depth (as in a cube, a sphere, a pyramid, or a cylinder). Form may also be free flowing.
The elements of art make it possible to engage with visual and tactile qualities of the artwork
through a “common language” that maybe 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 sculptures, architects, and stage designers.
However, with pictorial art that is two-dimensional, notion 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, especially in the fifth century, chiaroscuros 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 exchange the way pictorial representation was
done.
Its use was based on the following observations:
a. As forms and objects recede, the smaller they become.
b. 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.

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

Three types of perspective, grounded on the number of vanishing points used by the artist:
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 coverage at a specific and lone vanishing
point, along the horizon line.
2. Two- point perspective – pertain to a painting or drawing that make use of two vanishing, which
can be placed anywhere along the horizon line. It is often used in depicting structure such as
houses or building in the landscape that are view from a specific
corner.
3. Three-point perspective – in this type of perspective, the viewer
is looking at a scene from above or below. As the same suggests,
it makes use of the three vanishing points, each corresponding to
each axis of the scene.

Elements of Art: Auditory

Perhaps one of the most widespread forms of art, whose intersection in daily life is most perceptible,
is music. Music is a sound 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
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. Some of the common elements of music are the
following:
1. Rhythm – Often associated to 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
 Vivace – lively
 Accelerando – gradually speeding up
 Rallentado – gradually slowing down
 Allarganto – getting slower, broadening
 Rubato – literally “robbed time,” rhythm is played freely for expressive effect
2. 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] – moderate 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.

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

3. 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.
4. 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.
5. 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.
6. 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 or omitted altogether. 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.

Principles of Design (Art)

The designer must follow to create an effective composition that clearly delivers a message to its
audience. Hereunder are the different principles of design:
1. Balance is the distribution of visual weight of objects, colors, texture, and space. If the design was a
scale, these elements should be balanced to make a design feel stable.

Isamu Noguchi. “Cube”. Entrance of Marine Midland Building, Manhattan

There are three forms of balance:

a. Symmetrical – The elements used on one side are reflected to the other. This offers the most
stable visual sense to any artwork.
b. Asymmetrical – the elements are not the same (or of the same weight) on each side, putting the
heaviness on one side.
c. Radial – there is a central point in the composition, around which elements and objects are
distributed.

2. Scale and Proportion – Scale pertains to the size in relation to

what is normal for the figure or object in question.

Cleas Oldenberg and Coosje van Bruggen, “Plaintor” (2001)

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

Proportion is the feeling of unity created when all parts (sizes,

amounts, or number) relate well with each other. When drawing the
human figure, proportion can refer to the size of the head compared
to the rest of the body.
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.

Leonardo da Vinci, “Vitruvian Man” (1490). Pen and ink with wash over metalpoint on paper.

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.
b. 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).
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.

3. Emphasis and Contrast – Emphasis is the part of the design that catches the viewer’s attention.
Usually, the artist will make one area stand out by contrasting it with other areas. The area could be
different in size, color, texture, shape, etc.
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.

4. Unity – is the feeling of harmony between all parts of the work of art, which creates a sense of
completeness.

5. Variety – is the use of several elements of design to hold the viewer’s attention and to guide the
viewer’s eye through and around the work of art.

6. Harmony – unity and variety is related to the principle of harmony, in which the elements or objects
achieve a sense of flow and interconnectedness.

7. Movement – This refers to the direction of viewing eye as it goes through the artwork, often guided
by areas or elements that are emphasized. These local points can be lines, edges, shape, and color
within the work of art, among others.

8. Rhythm – is created when one or more elements of design are used repeatedly to create a feeling of
organized movement. Rhythm creates a mood like music or dancing. To keep rhythm exciting and
active, variety is essential.

9-10. 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 feeling of security and
calmness.

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

Vincent van Gogh “La Berceuse” (Woman Rocking a Cradle; Augustine-Alix

Pellicot Roulin, 1851-1930).

Combined or Hybrid Art

Art may be defined under strict lines that separate one art form or style to another. It is easy to
decipher visual arts from auditory arts. In the same vein, when looking at more specific art forms, there is a
consideration ease when one is confronted with the challenge of differentiating a painting from 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. The idea
of a single-medium-based art seems like 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 no surprising that themes, subjects, and the problematique addressed shape and style and
produce new kinds of articulation in which two or more art forms and styles are combined. Some examples
of 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
together to produce interesting and innovative compositions. In combine arts, improvisation is often tapped
in addition to practical and logical considerations of creating an artwork. 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.
Hybrid arts emergence is hinged on the frontier of science and technology. Referencing and tapping
into the fields of robotics, artificial intelligence, biotechnology, natural and computer sciences,
telecommunications, information, digital and inter face 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.

IV. Assessment
Answer the following questions. Write your answer clearly or have it computerized/ typewritten in a long
size bond paper.
Discuss briefly the following:
1. What are the elements of art? Give the meaning of each.
2. Differentiate the principles of design from one another.
3. What is the relevance of combined arts and hybrid art in the twenty-first century?

Scoring Guide
Each answer shall be evaluated using these criteria:
Content 10 pts.
Organization of ideas 5 pts.
Language facility 5 pts.
Total 20 pts.

V. Enrichment Activities:
Activity: Coffee Painting

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

Coffee painting is an extremely easy and enjoyable process of expressing your creativity on paper.
This type of art may be monochromatic, which involves working only one color, but its potential for art is
limitless (“Coffee Musings on Paper,”2015).

Materials Needed Black coffee powder, water in plastic cups, Oslo paper or sketch pad or long bond
paper, paintbrushes (flat and round tip brush), and pencil.
Method
1. Prepare your coffee solutions. You will only need to prepare two shades of coffee (a light shade and
a dark shade).
2. Sketch the subject of your artwork on your Oslo paper or bond paper. You can draw whatever you
want on your paper.
3. Paint your sketch with a light shade of coffee. Make sure that you spread the coffee solution evenly
so that your paper won’t get too soggy.
4. Apply the dark shade of coffee.
5. After finishing you’re your artwork, let your coffee painting dry and then snap a picture of it using
your smartphone. Please don’t forget to put your name on the lower part of your painting.
6. Be ready to present your artwork to me by answering the following questions:
a. What is the subject matter of the artwork?
b. What are the things you see in this artwork?
c. What is going on in this artwork?
d. What is the possible title you will use in your artwork?
e. What is your realization after doing this activity?

Rubric
The rubric below will be used to assess your output and presentation.
3 – The students create a coffee painting and explains his/her work in a clear and consistent manner.
There are no major grammatical errors.
2 – The student creates a coffee painting and explains his/her work and do so in a somewhat consistent
manner. There may be minor grammatical errors.
1 – The student has difficulty in creating a coffee painting and explaining his/her work. There may be
major grammatical error.
0 – The student makes an attempt to create a coffee painting but the explanation is without merit.

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 Republic of the Philippines
NORTHERN ILOILO POLYTECHNIC STATE COLLEGE
VICTORINO SALCEDO CAMPUS
Sara, Iloilo Reg. No. 97Q19783

Other examples of Coffee Painting by some BSCrim & BSIT students (2019-2020)

VI. References
Leano,R.D (2018) Art Appreciation for College Students. Recoletos St., Manila. Mindshaper Co., Inc.
Bernardo N.C. (2017) Art Apreciation(First Edition). Recto Avenue, Manila. Rex Book Store
Somerano,E. (2019) Art Apreciation (First Edition) Mandaluyong City. Books Atbp. Publishing Corp.

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