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College of Engineering, Architecture and

Technology

Elements and Principles of Art

Learning Outcomes
By the end of this lesson, you should 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 are combined therein.

In the chapter on Subject and Content, it was mentioned that arts have a specialized language. And to be
able to understand this language, the familiarity with Some or the elements and principles that make it
legible is required. Think of it as the letters-the stringing of letters to formulate words, and perhaps even
the different pronunciations and enunciations that assist comprehension.
Elements of Art: Visual
Taking off from the scientific reference, elements of art are akin to the atoms that are defined 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 art when they are joined together, in a variety of ways. In the same line of
reasoning, the elements of at 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 al| 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

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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.
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 "Todoos juntos podemos parar el sida" (logether 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.

Keith Haring, "Todos juntos podemos parar el sida" (We Can All Together Stop AIDS). Plastic paint on
wall. MACBA Collection. Barcelona City Council long-term.
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.
A. 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.
b. 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.
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C. Curved lines-these are lines that bend or coil. They allude to softness, grace, flexibility, or even
sensuality.

Francisco de Goya, "Porque esconderlos ?" (Why Hide Them?) (1797-99) Etching and aquatint. This
print is work No. 30 of the Caprichos series (First edition, Madrid, 1799). Museo del Prado Collection.
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.

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Theodore Gericault, "The Raft of Medusa" (1818-19) Oil on canvas. Musee du Louvre, Paris

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.
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 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:
a. 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.

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. The
design of the vase is foliage, a sample from a series that made use of morning glories.

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Louis Comfort Tiffany (designer), Tiffany Furnaces (Maker), Vase made of favrile glass. (C.a. 1913), Gift
of Louis Comfort Tiffany Foundation, 1951. The Metropolitan Museum of Art, New York.
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.

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Raphael, "The Madonna of the Meadows" (1505). Oil on panel. Kunsthistorisches Museum, Vienna.

4. Space
Related to shape and form is space. It is usually inferred form a sense of depth, whether it is real or
simulated. Real space is there-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 around a drawing
or picture.

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Anish Kapoot, "Cloud Gate" (2004), located in Chicago, Illinois.

In the middle of the 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.
a. 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.
b. 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.
5. 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 lsaac 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.

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Color Wheel courtesy of Jaime Costiglio

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 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)

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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
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.
 Monochromatic harmonies - use the variations of a hue. An example is Claud Monet's "Houses of
Parliament."

Claude Monet, "Houses of Parliament" (1900/1). Oil on canvas. Mr. and Mrs. Martin A. Ryerson
Collection (Bequeathed, 1933). Art Institute Chicago.

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

Cima da Conegliano (Giovanni Battista Cima), "Three Saints: Roch, Anthony Abbot, and Lucy." Oil on
canvas transferred to wood (ca. 1513). The Metropolitan Museum of Art, New York.
Notice the altar piece featuring Saint Anthony Abbot and Saint Roch. 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.

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Edgar Degas, "Before the race" (1882-1884) Oil on panel. Henry Walters (Bequeathed, 1931) Walters
Art Museum (WAM).
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 creatives 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.

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Edvard Munch, "The Scream (1893). Tempera and casein on cardboard. Munchmuseet,
Nasjonalgalleriet, Oslo.
6. 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.

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Frans Pourbus the Younger, "Margherita Gonzaga, Princess of Mantua." Oil on canvas. Bequest of
Collis P. Huntington, 1990. The Metropolitan Museum of Art, New York.
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.
a. 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.
b. Surface texture -refers to the texture of the three-dimensional art object.

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School of Ogata Korin (Japanese, 1658-1716), Inro with Rinpa Style Kanzan and Jittoku (Edo period).
Three cases, lacquered wood with mother-of-pearl and pewter inlay on gold lacquer ground, Pouch:
printed cotton WItn sarasa pattern; Ojime: metal bead. H. O. Havemeyer Collection, Bequest of Mrs. H.
O. Havemeyer, 1929. ThenMetropolitan Museum of Art, New York.

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,

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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:
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.

G. Herbert & Horace C. Bayley, photographer, Fartington - New Railway Viaduct, Interior, negative
May 1893 (print 1894), Gelatin silver print.
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:
a. 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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b. 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.

Gustav Caillebotte, "Rue de Paris, temps de pluie" (Paris Street in Rainy Weather), 1877. Oil on canvas.
C. 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:

Berenice Abbott, "Chanon Building, New York," (about 1935). Gelatin silver print. Gift of Nina and Le0
Pircher.
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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.
1. 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 nthe 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
 Allargando - 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] - moderately quiet
 Mezzo-forte [mf] - moderately loud
 Forte [f]- loud
 Fortissimo [f] - very loud
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When composers indicate an increase, or decrease in loudness, they use the terms crescendo for the
former; and decrescendo or diminuendo for the latter.
3. 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.
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
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 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

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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.
1. Balance
This principle refers to the distribution of the visual elements in view of their placement in relation to
each other.

Isamu Noguchi. "Cube." Entrance or Marine Midland Building, Manhattan.

a. Symmetrical - the elements used on one side are reflected to the other. This offers the most stable
visual sense to any artwork.

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Up Diliman Oblation Statue

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.
Sculptures of exaggerate scale are common all over the world as may 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.

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Leona da Vinci, "Vitruvian Man" 490). Pen and ink with wash over metalpoint on paper. Gallerie
dell'Accademia in Venice, Italy
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 or 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:
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.
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.

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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.

Vasudhara Mandala" (dated to 1777,; Samvat 897), Distemper on cloth. Gift of Stephen and Sharon
Davies Collection, 2015. The Metropolitan Museum of Art, New York.

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.
7. 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.
8. 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.
9 Rhythm

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This is created when an element is repeated, creating implied movement. Variety of repetition helps
invigorate rhythm as depicted in the artwork.
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.

Vincent van Gogh, "La Berceuse" (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851-
1930). On canvas. The Nalter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore
Annenberg, 1996, Bequest of Walter H. Annenberg, 2002. The Metropolitan Museum of Art, New York.
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 interdisciplinary. Rooted on

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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 creatives. 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 combine 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, 20 and
3D art, literature, lighting and set design, among others.
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" (Piirma, 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.

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