CHAPTER 4: ELEMENTS OF THE VISUAL ARTS C.

Diagonal Lines
-suggest action and movement
Whenever we see an art object, we cannot fail to notice -give animation to any composition in which they
several things: shape or form, texture, space, and lines appear
which the artist used in expressing his ideas. These are -almost every object in action assumes a diagonal line
called the elements of the visual arts. Like medium, :running person
elements are present in every art form. All arts have -the degree of action is shown by the angle of diagonal
certain elements of their own.
As masters in any art try to perfect their technique, they
LINE are able to work or less instinctively and they begin to
-is an important element of disposal of every artist. express themselves more and more through the
-through the lines of a painting or sculpture, the artist freedom, buoyancy and grace of curved lines. They have
can make us know what the work is about. He uses lines also learned to restrict their use of straight lines to
to represent figures and forms. types of work, the structural requirements of which are
-always have direction steadiness and force.
-always moving
- may either be straight or curve D. Curved Lines
-suggest grace, movement, flexibility, joyousness and
Man -usually lies prone when asleep or when at rest grace
and stands erect when in action. He stands stiff and - never harsh or stern since they are formed by a
straight when resistant or stern, and relaxes when in a gradual change in direction.
playful mood and the lines of his body fall into easy -tend to impart these qualities to any work where they
curves. When one is in motion, he bends forward; when are used
he encounters an opposing force, he braces against it. -The curved lines of the woman’s body and the bamboo
The greater the opposing force, the sharper will be the stem where according to Philippine legend, man and
angle of his body and the straighter will be the line. woman sprang, as depicted in a mural by the late artist
Carlos Francisco.
-certain emotional states always find expression
through definite positions. Repetition – occurs when 2 or more lines are drawn
-We associate the emotions with the lines that define within a corner following the lines of the corner.
their accompanying positions. Contrast – forms when lines are in opposition to
- When given a work of art, we call upon our another.
unconscious with its accompanying emotional state. Transition Line – forms when a curved line cuts across a
corner from an opposition line to another.
Straight Lines – are always associated with the ideas of -modify the sharpness of vertical and horizontal lines
steadiness and force, curved lines with flexibility, giving a harmonizing effect.
buoyancy and grace.
-moves in one direction only. COLOR
-either horizontal, vertical or diagonal -is a property of light. When lights go out, color goes
A. Horizontal Lines with it.
-are lines of repose and serenity -plays an important role in the work of an artist
-express ideas of calmness and quiescence. -Delight in color is a universal human characteristics
-found in reclining persons, in landscapes, calm bodies -The white light of the sun contains all the colors of the
of water and in the distant meeting of the earth and sky spectrum: violet, indigo, blue, green, yellow, orange and
in what is commonly called the horizon red.
-Sacrophagus of King Tut – H lines are suggestive of -these colors are so blended that they yield no
repose. sensation of color.
B. Vertical Lines -when a beam of light passes thru a prism, the different
-are lines poised for action rays of color are separated so that we are able to see
-poised, balanced, forceful, and dynamic and identify them.
- seen in a: person standing straight, a tall tree, statues -when light strikes a surface, some of the color rays are
of saints and heroes give an impression of dignity. absorbed while others are reflected.
-tend to express and arouse emotions of exaltation and -light passes thru when the object is transparent
inquietude and this is evident in monumental -most surfaces absorb all the color rays except those
architecture. which yield a single color sensation and therefore
-Gothic Cathedrals express sentiments of inquietude appear to be of that color.
and exaltation that possessed the soul of Northern -A blue dress absorbs all the color rays except the red
Europe in the later Middle Ages ray which it reflects
-A red ball absorbs all the color rays except the red ray =are suggestive of impetuous or instinctive
which is reflected action
-Color of an object = is determined by the rays which -called “advancing colors” because they have an
are reflected to the eyes of the beholder effect of advancing or coming towards you.
-Black Objects = absorb practically all the color rays and -Cool colors = are those where blue predominates like
reflect none green, blue-green, blue, blue-violet
-White Objects = reflect all the color rays equally =they cause surfaces covered with them to
-Gray = is due to the partial reflection of the color rays. appear to recede.
-Neutral Colors: white, gray, black(have no color quality) =suggest distance
=are calm, sober, restful, and inconspicuous
3 DIMENSIONS OF COLOR -Red = color of fire and blood
A. Hue – is the dimension of color that gives color = is the warmest, most vigorous and most exciting
its name. of the colors.
-when we say the flower is yellow, we are -Yellow = the color of light
naming its hue. = is the most brilliant, cheerful and exultant of
- color names such as red, green, violet, and the colors
yellow indicate the color characteristic called -Blue = color of the sky and of deep and still water
hue. =coolest and most tranquil of the colors
-Primary Hues = blue, red and yellow
-if these primary hues are mixed in equal parts, COLOR HARMONIES
they produce secondary hues. TWO KINDS OF COLOR HARMONIES
-Secondary Hues 1. Related color harmonies
 Orange – red + yellow - Either be monochromatic or adjacent.
 Green – blue + yellow - Monochromatic Harmony
 Violet – blue + red - Is made up of several tones of one hue, like for
instance orange, tan, brown and other tones
from the orange family
- are the simplest and easiest to use
- different tones of the same hue all have
something in common, so it’s easy for them to
agree.
- Any hue in the color circle can be made by
mixing its 2 neighbors. In adjacent or neighboring harmony, 2 or 3
- Mixing yellow and orange will produce a new neighboring hues on the color circle are used
hue yellow-orange together. For example, tones of green, yellow and
- “yellow-orange” or “red-orange” are called orange can produce a delightful harmony. They
intermediate colors have something in common because there is yellow
- 12 DISTINGUISHABLE HUES in green and in orange. Good adjacent harmonies
 Yellow-orange can be produced by using other groups of
 Orange neighboring colors like yellow, orange and red: or
 Red-orange orange, red and violet.
 Red 2. Contrasted color harmonies
 Red-violet -Complementary Colors
 Violet -colors which lie directly opposite each other in
 Blue-violet the color circle.
 Blue -red & green; orange & blue; violet & yellow
 Blue-green -they contrast with each other strongly
 Green -they are more difficult to use harmoniously
than the related color combinations
 Yellow-green
-But when properly harmonized, the give very
beautiful effects
WARM AND COOL COLORS
-Colors = may either be warm or cool
B. Values– refers to the lightness or darkness of a
-Warm Hues = red, orange, yellow
color
=associated with objects like the sun, fire and
- It is a quality which depends on the amount of
other sources of the heat
light and dark in color
=tend to impart warmth to any composition in
- Value Scale = has 9 value steps starting from
which they are used.
white to black
=are conspicuous, cheerful and stimulating,
vivacious, joyous and exciting
An understanding of values will help the artist to use = is the flower worthy of mention for its varied
colors to the best advantage. It will offer important psychological and emotional connotations.
suggestions for the arrangement of color values in = has long been a symbol of affection among lovers
interior decoration. The floor should be the darkest in = is said to be the only flower whose demand has never
the room, the walls should be lighter and the ceiling, diminished
the lightest. If the color of the floor is lighter than the = it is the universal flora of love but one should not just
wall, it will not give the feeling of being a solid send any rose because of different meanings conveyed
foundation, which is one of the prerequisites of a good by its different colors
floor. -Sarian J., “The Language of Roses”
 Red – “I love you”
Tints – are values above the normal -also mean courage and fortitude
 Pink – is a tint of red  Pink – “thank you”
 Sky-blue -most people think this is the color of love
Shades – are values below the normal Deep Pink -convey gratitude and appreciation
 Maroon – is a shade of red Light Pink –express sympathy; stand for grace
 Navy Blue and gentility.
(The value of a hue can be changed. We raise it by  White – harboring a secret affection for a
adding more light to it so that it reflects more light and special girl, send her this flower.
lower it by reducing the light it can reflect.) - denotes secrecy, innocence and purity,
reverence and humility
C. Intensity – refers to the brightness or darkness -“you are heavenly”
of color  Coral – speaks of enthusiasm and desire
-it gives color strength  Yellow – joy and freedom
-Intensity Differences – may be described as full (red + yellow = jovial and happy feelings)
intensity, two-thirds intensity, two-thirds (red + white = message of unity)
neutral and neutral 2 Roses = means ready for marriage
-2 colors may be both blue but one is more 1 Rose = simplicity
intense than the other
-When a hue is in its vivid form = in full intensity TEXTURE
-hue is dulled = partly neutralized - is the element that deals more directly with the sense
-more black or white is added, the weaker is the of touch
intensity -it has to do with the characteristics of surfaces which
can be rough or smooth, fine or coarse, shiny or dull,
-although painting is known to be the “art of color”, plain or irregular
color is also important in sculpture and architecture. - is best appreciated when an object is felt with the
-Bronze is selected for its rich brown color and Marble hands.
for its whiteness. -found in all visual arts
-Painting, building or sculptures has textures which are
PSYCHOLOGY OF COLORS felt and described in a variety of ways
-Colors = are known to have varied psychological and -is due primarily to differences in medium
emotional connotations -In architecture, the different feel of wood, concrete
 Black – is associated with death and gloom and metal, determines the texture in his works. He can
 White – stands for purity and innocence leave marks on the surfaces of a statue or he can polish
 Blue – color of heaven it to give it a shiny and smooth texture
 Red – associated with blood; it signifies anger -can contribute to the total effect of the finished work
and provokes fear; impels people to action. of art
 Orange – helps a person to be assertive -In painting, texture is used to represent the: skin,
 Green – color of nature; promotes the feeling of clothes, jewelry, furniture and other.
well-being; implies happy and restful -it can add richness and vitality to paintings
association and natural abundance -Contemporary painters have realized the important
It is wise for the artist to remember these psychological effects of texture in their work.
connotations when choosing color for his work. -During the 19th & 20th centuries, a high premium is
Architects are known to use different color relationships placed on very smooth surfaces and forms
for a church and for a reception room in order to create -A group of painters including Cezanne, Picasso and
the right mood among the observers. others, emphasized texture by purposely making
portions of the paintings rough.
Meaning of Colors Conveyed by the Rose -Aesthetic Value of Texture – lies first of all in the fact
- Rose = not a human creation that it makes gradation of color possible.
= having different colors that convey different meaning. -Flat Colors – are never beautiful
-Texture = gives a surface unevenness which causes the -the exterior of a building is seen as it appears
surface to be broken into gradations of light and shade, in space while the interior is seen by one who is
giving it a charm of its own. inside as enclosing space.
=is very real to the sculptor and architect because -Painting – does not deal with space directly
wood, stone, brick, concrete and metal feel different to - it represents space only on 2-dimensional
touch. surface.
-to the painter, texture is an illusion. He must make an -Sculpture – has very little to do with space relationship
object look like the way it would feel when one touches or perception of space
it.
FORM
PERSPECTIVE -applies to the overall design of a work of art
-deals with the effect of distance upon the appearance -it describes the structure or shape of an object
of objects, by means of which the eye judges spatial -all visual arts are concerned with form
relationships. -Sculpture and architecture deal with 3 dimensional
-it enables us to perceive distance and see the position forms although sculpture deals with exterior form alone
of objects in space. because we do not get inside a statue but we always get
2 KINDS OF PERSPECTIVE (to get depth/distance, an inside a building.
artist uses both) - the sculptor is restricted to masses in relation to other
1. Linear perspective masses as a means of interpretation.
-is the representation of an appearance of -Michaelangelo’s “David” idealizes and conventionalizes
distance by means of converging lines forms and feature, like the best of the Golden Age
-has to do with the directions of lines and with Greek sculpture.
the size of objects -Good Architecture = allows outward forms to be
-example, railroad tracts appear to rise and governed by what goes on inside them
meet in the distance. -House = is a place for a family to live in, therefore the
-Converging lines & Diminishing size show the inside should be carefully designed to meet the needs
effect of space and distance of the family.
-Below Eye Level – parallel lines seem to rise to -If the exterior form of the house expresses clearly the
a vanishing point in the horizon. interior form, the house becomes a good piece of art.
-Above Eye Level – seem to descend to the -Church = must express on the outside, that inside is a
vanishing point. place of worship for it to become a good work of art.
-Object appear smaller as they recede into the -Throughout the use of forms is therefore the guiding
distance. principle “form follows function”. This means that the
-People or objects at the background of a inner content of purpose or function governs the outer
painting seem to be shorter than those in front. appearance
-Foreshortening = a facet of linear perspective
which applied chiefly the human figure. Function – another factor in determining form is the
= is the representation of objects or way in which a building is constructed.
parts of the body as smaller from the point of -skyscrapers would not have been built had it not been
view of the observer. made necessary by rising land values resulting from
=the nearer and arm, limb or body is urban congestion.
placed at right angles to the observer, the -Great Architecture = is produced only when the
shorter it looks. elements of function and construction are integrated by
=an extreme example is Mantegna’s creative design.
“Pieta”
2. Aerial perspective FAVORITE DESIGNS USED BY PAINTERS:
-is the representation of relative distances of 1. Rectangles
objects by gradations of tone and color - (tables, buildings, picture frames, furniture)
-object become fainter in the distance due to -are usually composed of cube or rectangular
the effect to the atmosphere. solids.
-Objects appear to be lighter in color and the 2. Circles
outline more vague as they recede into the - (oranges, electrical bulbs, lakes and domes)
distance or into the atmosphere. - are shaped as spheres
3. Triangles
SPACE - (trees, mountains, flowers) are cones
- is of great importance in painting as in - (trunk of trees, human arms or legs and
architecture pencils) are cylinders.
In painting or other 2 dimensional arts, the form,
usually an area on a flat surface enclosed by a line,
stands out because of the difference in color, value or
texture. This is the reason why it is sometimes difficult
to recognize circles, cubes or triangles or other
geometric forms in paintings because they are seen as
parts of the objects or as the objects themselves. To
develop our ability to recognize these shapes or forms is
to see objects around us as of a particular color, texture
or tone.

VOLUME
-refers to the amount of space occupied in 3
dimensions.
-refers to solidity or thickness
PERCEIVED IN 2 WAYS
 Contour Lines/Outlines/Shapes of objects
 Surface lights and shadows
-This is the primary concern of architects because a
building always encloses space.
-The building must have everything neatly in place no
matter at what angle the lights fall on it or from what
view we look at it.
-The outlines or shadows change every time the viewer
shifts his position.
- Viewer may obtain not one but many different
impressions from a single work.
-Sculptor is also concerned with volume because his
figures actually occupy space and can be observed from
any direction.
-Direction of Sunlight – will determine the areas of light
and shadow
-Because painting is 2 dimensional, volume is an illusion
because the surface of the canvas is flat.
-The painter can only suggest volume
-The painter decides to from what direction he wants
the light to fall to make his figures have the illusion of
thickness.
-He then paints the lightest portions bright and those in
shadow, dark.