LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

Elements of Art: Visual A quality that is ascribed to lines is its ability

• The units or "building blocks" of matter. to direct the eyes to follow movement or
• The aspects of an artwork that can be provide hints as to a work's focal point.
isolated from each other.
• Generally produced when something is a. Horizontal and vertical lines - refers to
done to the medium after the technique is the orientation of the line.
carried out. Horizontal lines - associated with rest or
For example, sculptures automatically calm.
have the following elements with or without
the decision of the artist to include them: Vertical lines - connote elevation or height,
shape, form, and space. Without these which is usually taken to mean exaltation or
elements, there is no sculpture to begin aspiration for action.
with.
• Elements are the necessary preconditions
for the creation of art.

The elements of art and design are the

following:
1. Line - a point moving at an identifiable
path-it has lengt, direction and width. Together, these lines communicate stability
-​ It is one-dimensional. and firmness.
-​ It has the capacity to either define
the perimeters of the artwok (edges) b. Diagonal and crooked lines
and/or become a substantial Diagonal lines - convey movement and
component of the composition. instability, although the progression can be
-​ It has variations in view of its seen.
orientation/direction, shape, and
thickness.

Crooked or jagged lines - reminiscent of

violence, conflict, or struggle

Figure 51. Keith Haring, “Todos juntos ppdemos parar el

sida” ( We Can All Together Stop AIDS). Plastic paint on
wall. MACBA Collection. Barcelona City Council long-term.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

Two categories can be used as a broad

C. Curved lines - lines that bend or coil distinction:
They allude to softness grace, flexibility, or a. Geometric - these shapes find origin in
even sensuality. mathematical propositions.
- its translation and use are often
man-made, shapes such as squares,
triangles, cubes, circles, spheres, and
cones, among others.

Figure 52. Francisco de Goya, “Porque esconderlos?” (Why

Hide Them?) (1797-99) Etching and acquitint. This print is
Work. No. 30 of the Caprichos series (First Edition, Madrid,
1799). Museo del Prado Collection.

As with most etchings and other types of

prints, lines are dominant visual Figure 54. Pet Mondrian “Composition with Color Planes
and Gray Lines 1” (1918) Oil on canvas. Private collection.
components.
b. Organic – are those readily occurring in
nature, often irregular and asymmetrical.

Figure 53. Théodore Géricault, “ The Raft of Medusa”

(1818-19) Oil on canvas. Musée
du Louvre, Paris.

Lines may not necessarily be explicit or Figure 55. Louis Comfort Tiffany (designer), Tiffany
Furnaces (Maker) Vase made of favrile glass (c.a. 1913) Gift
literally shown. of Louis Comfort Tiffany Foundation, 1951. The Metropolitan
Museum of Art, New York.
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
Form - refers to three dimensions: height,
width, and depth.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

• Shapes may also be implied.

Positive space - the space where

shadow is heavily used.

Figure 56. Raphael, “The Madonna of the Meadows” (1505).

Oil on panel. Kunsthistorisches Museum, Vienna.
b. Three-dimensional space - can
be simulated through a variety of
4. Space - Related to shape and form. techniques such as shading.
-​ Usually inferred from a sense of -​ An illusion of
depth, whether it is real or simulated. three-dimensionality can be
-​ Real space is three-dimensional. achieved in a
-​ Sculptures are a perfect example of two-dimensional work.
artwork bear this element.
However, this can only be
manifested in two-dimensional
artworks through the use of different
techniques, or the use (non-use) of
artworks that bear this element.

5. Color - Enhances the appeal of

an artwork.
Its effect has range, allowing the
viewer to make responses based on
memory, emotion, and instinct,
among others.
- Property of light, as it is reflected
off the object.
- Color is not intrinsic to an object
Figure 57. Anish Kapoot, “Cloud Gate” (2004), and without light, one cannot
located in Chicago, Illinois.
perceive color.
Not all works are sculptures. In
two-dimensional artworks, they
may be implied.
a. Positive and negative space
Negative space - identified as the
white space.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

Much of what we know about colors B. Value - refers to the brightness or

begins with the notion of a Color darkness of color.
Theory that was first unraveled by Often used by artists to create the
the experiments undertaken by Sir illusion of depth and solidity, a
Isaac Newton in 1666. A ray of particular mood, communicate a
sunlight passing through a prism feeling, or in establishing a scene
reveals an array of colors akin to (e.g., day and night).
that of a rainbow. • Light colors - taken as the source
of light in the composition
An upshot of this color theory is the • Dark colors - the lack or even
creation of a color wheel. absence of light

Tint– a lighter color than the normal

value (e.g., pink fo
Figure 58. Color Wheel courtesy of Jaime
Costiglio. red)
Shade - a darker color than the
The color wheel corresponds to the normal value (e.g., maroon for red)
first property of color, hue.
a. Hue - dimension of color gives its
name. It can be subdivided into:
• Primary colors - red, yellow, and
blue
• Secondary colors - green, orange,
and violet
C. Intensity - the color's brightness
• Tertiary colors six in total, these
or dullness.
hues are achieved when primary
- Identified as the strength of color,
and secondary colors are mixed
whether it is vivid or muted. To
achieve a specific intensity of a
color.
• Bright or warm colors - positive
energy
• Dull or cool colors -
sedate/soothing, seriousness or
calm
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

To better understand intensity of

color, color harmonies are to be
considered. Color harmonies are
Figure 60. Cima da Conegliano (Giovannie Battista Cima),
also integral considerations not only
“Three Saints: Roch, Anthony Abbot, and Lucy.” Oil on
for pictorial arts but also for other art canvas transferred to wood (ca. 1513). The Metropolitan
forms Museum of Art, New York

• Monochromatic harmonies - use • Analogous harmonies - make use of two

the variations of a hue. An example's colors beside each other in the color wheel.
Claud Monet's " Houses of
Parliament"

Figure 61. Edgar Degas, “Before the Race” (1882-1884) Oil

on panel. Henry Walters (Bequeathed, 1931) Walters Art
Museum (WAM).

Figure 59. Clause Monet, “Houses of Parliament” (1900/1).

Oil on canvas.

• Complementary harmonies – involve two

colors opposite each other in the color
wheel. Since they are at contrary positions, • Triadic harmonies
the reaction is most intense. - other harmonies emerged such as triadic
means that does not mean that artists will
limit themselves to these kinds of make use
of three colors from equidistant sites within
the color wheel.
- These are but jump-off points that artists
and other creatives use.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

a. Textures in the two-dimensional plane

- texture can be implied using one technique
or a combination of other elements of art.
- 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
All in all, color presents a multitude of one important skill that an artist must be
possibilities that affects how works of art are familiar with, especially if his idea or
taken in by the viewer. concept necessitates it.
b. Surface texture - refers to the texture of
the three-dimensional art object.

Figure 62. Edvard Munch, “The Scream” (1893). Tempera

and casein on cardboard. Mumchmuseet Nasjonalgalleriet,
Oslo.

6. Texture - Like space, texture can be

either real or implied.
- Element in an artwork that is experienced
through the sense of touch (and sight).
- Renders the art object tactile.

Figure 64. School of Ogata Korin (Japnase 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
with sarasa pattern: Ojime: metal bead. H.O. Havemeyer
Collection Bequest of Mrs. H.O. Havemeyer, 1929. They
Metropolitan Museum of Art, New York.
Figure 63. Frans Pourbus the Younger, “Margherita
Gonzaga, Princessof Mantua.” Oil on canvas. Bequest of Elements of Art
Collis P. Huntington, 1990. The Metropolitan of Art, New
• Make it possible to engage with the visual
York.
and tactile qualities of the artwork through a
Often texture is commonly associated with "common language" that may be widely
textiles understood.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

•Through these elements, there is 15th century during Renaissance

something from which the idea, concept, chiaroscuro was developed
message, or intended mood of the artist - It made use of light and dark contrasts
may be inferred. and tones in which paintings not only looked
• It offers a starting point or a baseline from three-dimensional, but also more dramatic.
which analysis may take place it is called - Linear perspective changed the way
formal analysis of art. pictorial representation was done.
- Credited to Renaissance artists, its early
proponents include Leon Battista Alberti,
PLANES AND PERSPECTIVES Paolo Uccello and architect Filippo
Some art forms work with actual spaces, Brunelleschi were published Alberti's On
such as sculptors, architects, and stage Painting in 1435.
designers.
Its use was based on the following
Pictorial art - two-dimensional, notions of observations:
depth and hence perspective requires the a. As forms and objects recede, the smaller
implementation of principles and techniques they become.
in creating an illusion that will fool the eye to b. We were taught that parallel lines never
three-dimensionality when in reality there is meet.
none. However, when they, too, seem to
converge when they recede into a distance,
at a point, they both disappear ( called the
vanishing point ).

An example often used to illustrate linear

perspective is the railroad where tracks
disappear off at a distance.

Picture plane - the actual surface of the

painting or drawing, where no illusion of a
third dimension exists.

Figure 65. G. Herbert & Horace C.Bayley, photographer,

Partington, New Railway, Viaduct Interior negative May 1893
(print 1894), Gelatin Silver print.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

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.

Figure 66. Gustav Caillebote, “Rue de Paris, temps de pluie”

(Paris Street in Rany Weather) 1877. Oil on Canvas.

C. Three-point perspective - the viewer is

looking at a scene from above or below.
As the name suggests, it makes use of the
There are three types of perspective, three vanishing points, each corresponding
grounded on the number of vanishing to each axis of the scene.
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.

Figure 67. Berenice Abbott, “Cannon Building, New York, “ (

about 1935). Gelatin silver print. Gift of Nina and Leo Pircher.

ELEMENTS OF ART : AUDITORY

Music - of an art form classified as
auditory art.
b. Two-point perspective - pertains to a - Music is much like the visual arts, has
painting or drawing that makes use of two its own building blocks or elements.
vanishing points, which can be placed - Most widespread forms of art, whose
anywhere along the horizon line. intersection in daily life is most
perceptible.
Often used in depicting structures such as
- Sound organized in a specific time.
houses or buildings in the landscape that
- Considered as implement to cultural
are viewed from a specific corner.
activities, answering a specific role or
function.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

- Some are adept with the skill and • Piano [p] - quiet
sense to produce music, while others • Mezzo-piano [mp] - moderately quiet
consume it as listeners, audiences, and • Mezzo-forte [mf] - moderately loud
even performers. • Forte [f] - loud
- Having the capacity to transcend • Fortissimo [ff]- very loud
barriers even that of differences in
language or conventions in sound. When composers indicate an increase,
or decrease in loudness,
Common elements of music are the crescendo - former
following: decrescendo or diminuendo - latter.
1. Rhythm - associated to the terms
beat, meter, and tempo 3. Melody - refers to the linear
Pulse - the element of music that presentation (horizontal) of pitch.
situates it in time. Horizontal - means that in musical
Beat- the basic unit of music while notation, it is read in succession from on
tempo refers to its speed to right.
(beats/second). Pitch - is the highness or lowness of
Meter - Beats can be organized into musical sound.
a recognizable recurrent patter.
4. Harmony - arises when pitches are
Classical terms are used to refer to combined to form chords ( Vertical ).
the variations in tempo, some of Chord - When several notes are
which are: simultaneously played.
Largo - slowly and broadly - Harmony can be described in terms of
Andante- walking pace its "harshness": dissonance is the
Moderato - at moderate speed harsh-sounding combination while
Allegro - fast consonance is the smooth-sounding
Vivace - lively combination.
Accelerando - gradually speeding up
Rallentado - gradually slowing down 5. Timbre - likened to the color of
Allargando - getting slower, broadening music.
Rubato - literally "robbed time," rhythm - a quality that distinguishes a voice or
is played freely for expressive effect an instrument from another
- may give a certain tone or
2. Dynamics - the loudness or characteristic to music
quietness of music is dynamics.
6. Texture - The number of melodies,
Classical terms are used to refer to the the type of layers, and their relatedness
different levels pertaining to this:
• Pianissimo [pp] - very quiet
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

In 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

PRINCIPLES OF ART b. Asymmetrical - the elements are not

the same (or of the same weight on
each side, putting the heaviness on one
side).

These principles are:

1. Balance - refers to the distribution of c. Radial - there is a central point in the
the visual elements in view of their composition, around which elements
placement in relation to each other. and objects are distributed.

Figure 68. Isamu Noguchi. "Cube,". Entrance of Marine

Midland Building, Manhattan.

There are three forms of balance:

a. Symmetrical - used on one side are 2. Scale and Proportion
reflected to the other. This offers the Scale pertains to the size in relation to
most stable visual sense to any artwork. what is normal for the figure object in
question.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

Proportion - the size of the Proportion can be:

components, or of objects in relation to a. Natural - relates to the realistic size
one another when taken as a of the visual elements in the artwork,
composition or a unit. especially for figurative artworks. When
- Also refers to values such as amounts it is the accuracy in relation to the real
or number of elements or objects in the world that the artist is after ( the
composition. principle of scale ).

b. Exaggerated - refers to the unusual

size relations of visual elements
deliberately exaggerating the immensity
or minuteness of an object.
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 classica
proportion in architecture. For da Vinci,
man's body can used to better
understand the symmetry that exists in
nature and the universe.

c. ldealized - most common to those

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

Figure 71. Leonardo da Vinci, "Vitruvian Man" (1490). Pen

and ink with wash over metalpoint on paper. Gallerie dell'
Accademia in Venice, Italy.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

3-4. Emphasis and Contrast

Emphasis - allows the attention of the
viewer to a focal points) accentuating or
drawing attention to these elements or
objects.
Contrast - 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. 9. Rhythm - Created when an element
is repeated, creating implied movement.
Variety of repetition helps invigorate
rhythm as depicted in the artwork.

5-6. Unity and Variety

Unity - compositions are intended to
imbue a sense of accord or
completeness from the artwork. 10-11. Repetition and Pattern
Variety - the principle that aims to Repitition - Lines, shapes, colors, and
retain the interest by allowing patches or other elements may appear in an
areas that both excite and allow the eye artwork in a recurring manner.
to rest. Pattern- the image created out of
7. Harmony - Unity and variety is repetition is called pattern.
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.
 LESSON 6 : ELEMENTS AND PRINCIPLES OF ART

COMBINED OR HYBRID HYBRID ARTS

COMBINED ARTS Another movement that is reminiscent of the
In contemporary art, these developments motivations of the Renaissance, and whose
were mirrored in the multifaceted nature of emergence is hinged on the frontiers of
artworks that were created. science and technology.

- The themes, subjects, and the Example:

problematique addressed shaped and • Robotics
produced new kinds of articulation in which • Artificial intelligence
or more art forms and styles are combined. • Botechnology
• Natural and computer sciences
Example of combined art ( the theatrical • Telecommunications
performance that taps into many art forms): • Information
• Music • Digital and interface technologies
• 2D and 3D art
• Literature - Driven by the expansion of the imagination
• Lighting and set design, among others.. and what is possible through the "blistering
pace of scientific and technological
- Improvisation is often tapped in addition development" (Pirma, 2014).
to practical and logical considerations of
creating an artwork. From a specific vista of - At its heart is an inquiry-and through
an art form, there is a seeming road map to information and data, the capacity of the
creation. artist to move around platforms, and the
implementation and manipulation of
The artist is challenged to deconstruct an newfound tools in production, the artist is
idea or stimulus, from which the content, able to address that inquiry.
narrative, technique, art forms, and styles
will take form.
- Improvisation or inventiveness is
necessary to create an artwork that is to GROUP 6:
some extent unprecedented. MIKYLA V. CAJOBE
Inspiration may come from numerous CRISTIAN KYLE CASTILLO
sources, are and documenting the process SHERYLE CALIPAY
of fusing these influences may be part of the RHIZZA CASIMIRO
production. MARIA GRELENDA BATAPA

Example of combined art :

The theatrical performance that taps into
many art forms Such as music, 2D and 3D
art, literature, lighting and set design,
among others.