Humn12n:Reading Visual Arts 1

KTJ

Module 2: The
Composition of Visual
Art
Module Overview

This topic will discuss the ingredients used by the artist, and how these ingredients
are combined and organized to create a quality work. We will try to explore, understand, and
learn how to use them together effectively. Before starting. We need to remember that
creating a good artwork is not just about skills, definitely not about luck, but, more
importantly, about knowledge. Moreover, after understanding the different Elements and
Principles of Art, we will apply our learning by analyzing different works of art through
Formal Analysis.

Motivational Activity

Before we begin, kindly get a piece of paper and list down ten things that make the
world a better place to live in. Then, analyze how these things resemble or complement each
other.

Module Pretest

Instruction: In any piece of paper, answer the following questions.

1. What are the three primary colors?
2. This is the circular chart used to show color relationship.
3. This is an element of art that refers to the sense of touch.
4. Unity is obtained when all parts of the design are working together as a team. True or
False?
5. A three-dimensional geometrical figure can be measured through its height, width,
and?

1
Humn12n:Reading Visual Arts 2
KTJ

Lesson 2.1: Elements of Visual Arts

Lesson Summary

This lesson tackles how artists make use of the different building blocks in creating
an artwork that help them in communicating their feelings and ideas. These building blocks
are visual elements of art that include line, shape, form, color, value, space, and texture.
When analyzing these intentionally utilized elements, the viewer is guided towards a deeper
understanding of the work.

Learning Outcomes

• Identify and describe the different elements of Visual Art

• Analyze various elements present in visual and/or combined art.
• Determine dominant elements used in hybrid or modified expressions.
• Comprehend the language of art by using the elements to create an art work.

Motivation Activity

Get a clean short bond paper, a pen, and coloring materials. Then, for one minute,
close your eyes and start moving your pen around your bond paper without breaking or
stopping. After a minute, look closely to what you have created. Identify and color the objects
you can find in your paper. Were you able to see any shapes? What kind of object/s were you
able to create? Do the colors used complement each other? Create a title for your work of art.

Discussion

The Visual Elements of Art

An Element is a basic part of something in its simplest form. In the Visual Arts,
different elements also serve as tools that help the artist communicate his/her ideas, feelings,
and emotions and create a composition.
The Elements of Visual Art, also called the building blocks of art, is composed of
seven basic elements: line, shape, form, color, value, space, and texture. The artists then
manipulate these elements to compose a work of art.

A. Element of Line
Line is considered as the most basic element of visual art. It plays an integral role in
the creation of art. This is the first element used by children or artists in creating art, even

2
Humn12n:Reading Visual Arts 3
KTJ

without prior knowledge of different elements. Therefore, we can say that the Line is the
foundation of all drawings, and is the first and most versatile of the visual elements.
Because of its versatility, Lines can be used to suggest pattern, form, shape, structure,
growth, depth, distance, rhythm, and movement. It also serves as an artist’s fingerprint and
functions as one of his/her fundamental tools that helps to convey different feelings, mood,
and add spice or strength to the idea of the artwork.
Kinds of Line
Horizontal Lines
Horizontal lines generally travel from left to right (or right to left), and look
like they are lying down, at rest, or asleep. They are parallel to the horizon, and runs
across the paper or canvas to represent the viewer’s eye level, or delineate where the
sky meets the ground. This kind of line suggests calm, quiet, comfort, and a relaxed
stance. Horizontal lines also cannot fall over. They are wide, stable, and secure.
Horizontal lines by their connection to the horizon are associated with
earthbound things and ideas.

Figure 1: Sample of Horizontal Line

Vertical Lines
Vertical lines travel up and down and are perpendicular to the horizon. These
are erect lines that seem to extend upward beyond human reach, toward the sky.
Vertical lines are strong and rigid. They can suggest stability, especially when
thicker. These lines also accentuate height and convey lack of movement. Their
tallness and formality may also give the impression of dignity.
Vertical lines seem to be reaching, so they may seem inspirational like tall
majestic trees or church steeples

Figure 2: Sample of Vertical Line

3
Humn12n:Reading Visual Arts 4
KTJ

Diagonal Lines
Diagonal lines are angled and can either be an inclining or declining slope. They are
unstable in relation to gravity, being neither vertical nor horizontal, they are either
about to fall, or are already in motion. Two dimensional composition diagonal lines
are also used to indicate depth, an illusion of perspective that pulls the viewer into the
picture, creating an illusion of a space where one could move about within. Their
kinetic energy and apparent movement creates a feeling of tension or excitement.
Diagonal lines tend to be disturbing. They suggest decay or chaos like
lightning or falling trees.

Figure 3: Sample of Diagonal Line

Curved Lines
Curved Lines are softer than straight lines. They are sweep and turn
gracefully between end points. They are less definite and predictable than straight
lines. They bend and change direction. Curved lines express fluid movement. They
can be calm or dynamic, depending on how much they curve. The less active the
curve the calmer the feeling.

Figure 4: Sample of Curved Lines

Zigzag Lines
Zigzag lines are a combination of diagonal lines that connect at certain
points. They take on the dynamic and high energy characteristics of diagonal lines.
They create excitement and intense movement. They convey confusion and
nervousness as they change direction quickly and frequently. This line can imply
danger and destruction as they break down.

Figure 5: Sample of Zigzag Lines

4
Humn12n:Reading Visual Arts 5
KTJ

Constructive Lines and Expressive Lines

Constructive Lines, or sometimes called Directional Line or Classic lines, provide
structure to a composition. They can be oriented to the horizontal, vertical, or diagonal axis of
the surface. These lines are very measured, directional and angular, and appear to be man-
made because of its precision. Straight lines are by nature visually stable, while still giving
direction to a composition.

Figure 6: Sample of Constructive Lines

Expressive lines, on the other hand, are curved, adding more dynamic character to a
work of art. Expressive lines are often rounded and follow undetermined paths. It also tends to
be found in nature and are very organic.

Figure 7: Sample of Expressive Lines

The Quality of Line

The quality of line is in itself a fundamental visual language. It is that sense of
character embedded in the way a line presents itself. Certain lines have qualities that
distinguish them from others. The line quality is so universal that viewers are all profoundly
sensitive to it. Even without the artist’s training, viewers can extract considerable meaning
from the kind of line used in a drawing.

5
Humn12n:Reading Visual Arts 6
KTJ

B. Element of Shape
Shapes also play an important role in the creation of art. They help to create complex
drawing and paintings, affect composition, and contribute to the balance within a work.
Shape is created when a line becomes connected and encloses space. It is the outline
or outward appearance of something. Shapes are two-dimensional (2-D) which means there
are 2 ways they can be measured. Shapes can be measured by its HEIGHT and its WIDTH.
There are two basic types of shape: Geometric Shape and Organic Shapes.
Organic Shapes are defined as shapes that are irregular or asymmetrical in
appearance and tend to have a curvy flow to them, and have more complicated edges. Nearly
all shapes found in nature are organic in appearance, examples are flower and leaves.

Figure 8: Elements of Shape: Organic Shape

Geometric Shapes are defined as shapes that have regular appearance and are
typically man-made. They have smooth edges and are measurable. This includes square,
triangle, and rectangle.

Figure 9: Elements of Shape: Geometric shapes

C. Element of Form
A Form is a shape that has become three-dimensional and encloses volume, possessing
Length, Width, and Height. Just like shapes, Form can be Geometric or Organic.
Geometric Form
Geometric form is based on mathematical descriptions like sphere, cube,
pyramid, cylinder, and cone. Geometric forms are most often found in architecture
and the built environment, although they can also be found in spheres of planets and
bubbles. These forms are most often thought of as constructed or man-made.
Turning Shape into Form

Figure 10: Turning shape into form

6
 Humn12n:Reading Visual Arts 7
KTJ

Organic Form
Organic forms are free-flowing, curvy, and asymmetrical or not easily
measurable or named. They most often occur in nature, as in shapes of flowers,
branches, leaves, puddles, clouds, animals, and the human figure.
In drawing and painting, the illusion of three-dimensional form is conveyed
through the use of lighting and shadows and the rendering of value and tone.

Figure 11: Turquoise Cherry Blossom Tree by Nathalie Van and Mother and Child, Barbara Hepworth, 1934

D. Element of Space
Artists sometimes have overlooked the importance of creating space in a drawing or
painting. Space is the empty or open area between, around, above, below, or within objects.
Shapes and forms are made by the space around and within them. Space can be two-
dimensional or three-dimensional.
In three-dimensional art, the space things occupy is real as is the space around the
object. In two-Dimensional art, art exists on a flat surface. Moreover, space can be defined as
positive or negative space.
Positive Space and Negative Space
Positive and Negative space are ways an artwork is divided. When planning a work
of art, both areas must be examined so that they balance one another. Drawing items running
off the page and zooming in on objects are ways to create visual interest within a work.

Figure 12: Sample of positive and negative space

7
Humn12n:Reading Visual Arts 8
KTJ

Positive Space refers to the filled space, or the subject(s) of the work itself. Negative
space, on the other hand, refers to the empty spaces artist has created around, between, and
within the subject(s).
Artist can also create illusions of physical space and spatial relationship through:
• Size: larger objects appear closer, smaller objects appear further away.

• Overlap: partially covering one shape (object with another makes the one in front
appear closer)

Figure 13:

• Placement: where a shape or object is in relationship to the horizon, line creates

depth. Things closer to the horizon line appear further away. Objects closer to the
bottom appear closer.

Figure 14: Sample of placement

8
Humn12n:Reading Visual Arts 9
KTJ

• Atmospheric Perspective: Objects as they recede into the distance begin to lose color,
brightness, and detail.

Figure 15: Sample of atmospheric perspective

• Shading: adding light and shadow to the surface of the object to mimic the way real
objects would appear under the same lighting.

Figure 16: Sample of shading

• Linear Perspective: when the artist uses a vanishing point on the horizon and then
creates a sense of deep space by showing objects getting progressively smaller as they
get closer to the vanishing point.

Figure 17: Sample of linear perspective

9
Humn12n:Reading Visual Arts 10
KTJ

E. The Element of Color

Color is often considered to be the most exciting element of a painting. This is also
considered as the most emotive of all the elements. Consider what our world would look
like if everything was black, white, and gray?
Color is used to create mood and to express or arouse an emotion. There are those
colors to which viewers are drawn, and those that the viewers reject simply because of
their negative emotional response to them. Colors come from the light produced by
natural or artificial source. Viewers perceive colors from the light waves of different
lengths that vibrate at different speeds and are interpreted in the human mind as color.

Figure 18: Elements of color

By placing colors next to each other in different ways, artists can create a variety of
effects. Each color has three properties: Hue, Value, and Intensity.
Hue: This is the name of the color itself. It refers to the position of the color in the
color spectrum.
Value: This refers to the lightness or darkness of a color. A color’s value can be
changed by adding black (shade) or white (tint) to the hue.
Intensity: This refers to the purity of a color, often measured by boldness or dullness.
Pure hues pertain to the absence of white, black, or gray. Colors that are high in
intensity tend to be bright, and colors low in intensity tend to be dull.

Figure 19: The color wheel

10
Humn12n:Reading Visual Arts 11
KTJ

The Color Wheel

The color wheel is a circle divided into 12 sections representing the twelve colors and
how they relate to one another.
Color Scheme

Figure 20: Colorwheel: Primary, secondary, & tertiary colors

Complementary Colors
These are colors opposite each other in the color wheel. When used together within
an artwork they make each other seem brighter and more dynamic, e.g. blue and orange.
Analogous Color
Analogous color are colors which are next to each other in the color wheel. When
used together they create a sense of harmony, e.g. green, blue green, blue.
Monochromatic Color
A Monochromatic color scheme is when an artwork is made from one color altered
using tints and shades only.

Figure 21: Sample of color schemes

11
Humn12n:Reading Visual Arts 12
KTJ

Color Temperature and Emotion

Colors are also considered to be Cool and Warm. It is important that artists
understand the effects of color when they are trying to get the viewers of their art to feel a
particular way.
Warm Colors are often described as being high in temperature, and are usually
associated with fire and sun. Red, orange, and yellow are examples of warm colors that
show stimulating and passionate emotions. When placed in an artwork, objects with warm
colors optically appear to advance.

Figure 22: Sample color temperature and emotions

Cool Colors, on the other hand, are often described as being low in temperature, and
are associated with water and sky. Blue, Green, and Violet are example of cool colors,
and shows calming and depressing moods. When used in an artwork, objects with cool
colors optically appear to recede.

Figure 23: Sample of cool colors

12
Humn12n:Reading Visual Arts 13
KTJ

F. The Element of Value

Value in art is widely considered to be one of the most important elements in
painting. It deals with the lightness or darkness of a hue (color). Since we see objects and
understand objects because of how dark or light they are, value is incredibly important to
art. Value makes objects appear more real because it imitates natural light.
Value is most evident on the gray scale where black is represented as lowest or
darkest and white is represented as the highest or lightest value. Artists use different
values to create highlights and shadows in objects and produce depth in their paintings or
drawings.

When showing value in a work of art, you will need a LIGHT SOURCE. A light source
is the place where light emanates. The darkest areas are always on the opposite side of the
light.

Value is an especially important element in works of art when color is absent. This is
particularly likely with drawings, printmaking, and photographs
Colors can have value, too, and these changes can be achieved by adding either black
or white to the chosen color. You could have two different colors which appear
completely different, but have the same value. There would be little contrast between
these colors despite the different hues. On the other hand, you could have many different
values of the same hue. These are called tints and shades. Tints can be produced by
adding white to a hue, and shades can be produced by adding black to a hue.

13
Humn12n:Reading Visual Arts 14
KTJ

Value is very important to drawing and painting because value changes are what
creates contrast. Contrast is needed to help us see and understand a two-dimensional work
of art.
In order to have a successful drawing, you will need to show a full value range,
which means that there are very light areas, middle tones, and very dark areas. This is a
way of giving a work of art Contrast.

Value SCALE
A value scale shows the range of tones from white, which is the lightest, to
black, which is the darkest. The closer together the values are on a scale, the less contrast
we see.

In drawing, value can be added several ways:

• Cross-Hatching: This is when you use irregular lengths of parallel lines that cross
over each other diagonally. The closer together the lines are placed, the darker the
value.

Figure 24: Sample of crosshatching

14
Humn12n:Reading Visual Arts 15
KTJ

• Stippling: This is the use of dots to create shade. This is accomplished by placing
dots very close together to create dark values and farther apart to create lighter values.

• Soft Shading: This is when you use your pencil to create soft gradual movements
from one value to the next using full value range.

G. The Visual Element of Texture

Texture describes the perceived quality of a surface, whether real or implied. We do
not experience the world only through our sight, but through other senses as well. Among
them is our sense of touch. A rock may be rough and jagged. A piece of silk may be soft
and smooth, and your desk may feel hard and smooth. Texture also refers to the illusion
of roughness or smoothness in a picture.

Tactile (or Real) Texture

Tactile (or Real) Texture is the way the surface of an object actually feels. This type
of texture can be experienced through the sense of touch. Examples would be sandpaper,
cotton balls, tree bark, and puppy fur.

15
Humn12n:Reading Visual Arts 16
KTJ

Implied/Simulated/Visual Texture

This type of Texture is the way the surface of an object looks like what it feels like.
This is the type of texture artists use when they draw and paint. Textures may look rough,
fuzzy, gritty, or scruffy, but can’t be felt. Artists also call this trompe l’oeil or, in
English, “tricks the eye.”

The elements of arts are important components for the creation of an artwork. Without these,
no artwork will be created. At the same time, these elements also allow us to understand and
analyze what the artist has done and what is going on in a particular piece of work. At the
same time, it enables us to communicate our thoughts by finding a common language with the
artist. Learning and understanding these elements are both fun and useful for us to fully
appreciate, analyze, and write about art, as well as for us to help us, to create an art of our
own.

16
Humn12n:Reading Visual Arts 17
KTJ

Lesson 2.2: Principles of Design

Lesson Summary

This lesson tackles how artists organize the different elements of art to create a
composition. These elements and principles combined together will be utilized to prepare and
examine artworks for better appreciation of the artworks.

Learning Outcomes

• Identify the principles of design used by different artists

• Define and translate principles of design into an artwork
• Create an artwork depicting the various principles of design

Motivational Activity

For this activity, close your eyes and imagine you are looking into a kaleidoscope (or
you can download your own image). As you turn your kaleidoscope take note of the colors
and shapes created and the effect that light has on the picture you are seeing. Note how the
colors, lines, shapes, textures, and values change each time you turn the barrel of the
kaleidoscope.
Now, find a picture that you enjoy viewing and hold your kaleidoscope still. Think
about the elements of visual art that we discussed last week and identify each of those
elements in the picture that you are viewing. Think about how each of these individual
elements are working together to make a bigger picture. This bigger picture made up of small,
individual parts is referred to as the composition. You can now open your eyes.

Discussion

The Principles of Design are made up of various mixtures of the Elements of Visual
Arts. These principles represent how the artist uses the visual tool (elements of visual arts) to
create an effect and to help convey the artist’s intent. These principles are the rules an artist
must follow to create an effective and attractive composition.
The way these principles are used and applied in a work of art affects the message or
the expressive content of the work. The fundamental principles of design include Balance,
Contrast, Gradation, Rhythm, Pattern, Repetition, Movement, Variety, Harmony, Proportion,
and Simplicity.

17
Humn12n:Reading Visual Arts 18
KTJ

A. Principle of Balance
The weight carried by objects in a design is called visual weight. The visual weight of a
design needs balance to avoid instability or too much weight on either side of the art.
The Principle of Balance, therefore, is the way elements of art are arranged to create a
feeling of stability in a work. It is concerned with how the different elements of art are used
so no one part of a work overpowers, or seems heavier than, any other part.
There are three important types of Balance: Symmetrical, Asymmetrical, and Radial.

Symmetrical Balance
Symmetrical balance is sometimes known as bilateral, two-sided, or formal balance.
We can say that a design or an artwork displays symmetrical balance when it is exactly
the same on both sides. If a line will be drawn in the center of the artwork, one side will
mirror the image of the other side.

Asymmetrical Balance
Asymmetrical Balance, also called Informal Balance, is more complex than
symmetrical balance. It often contrasts the elements that at first glance may not seem to
be balanced.
For example, an artist may place a large shape on one side and a group of smaller
shapes on the other side. Even though there are different elements present on both sides,
two sides will still appear to have same “visual weight”.

18
Humn12n:Reading Visual Arts 19
KTJ

Radial Balance
A design has radial balance if parts of a design revolve around a central point.
Designs based on radial balance are somewhat similar to those that use symmetrical
balance. However, the design present should be reflected on all four sides.

B. Principle of Emphasis
Emphasis is created by reinforcing something we want the viewers to pay attention
to, or to make a certain object in the design stand out. The object of interest we emphasize in
the design is what we call the focal point. Some ways of giving emphasis may include the use
of contrast of value, use of color, size, and proximity.
Example: Creating emphasis using color and/or shape.
Notice how the art shows contrast of color (warm and cold), and the use of
contrasting shapes, to give emphasis to our object of interest which is the red heart.

19
Humn12n:Reading Visual Arts 20
KTJ

Creating emphasis using size: Here we notice how the artist emphasizes his artwork by
making the object big.

C. Principle of Contrast
Contrast refers to differences in values, colors, textures, shapes, and other elements. For
the use of the Principle of Contrast, an artist will make arrangements of the opposite elements
in his/her artwork. For example, warm color and cool colors, large and small shapes,
expressive and constructive lines.
Using this principle, the artist is able to create visual excitement and interest in a work of
art.

The greater the contrast, the more something will stand out and call attention to itself.

20
Humn12n:Reading Visual Arts 21
KTJ

Examples of Contrast
⚫ Contrast of color – warm vs. cool colors
⚫ Contrast of texture – smooth vs. rough
⚫ Contrast of size – large vs. small
⚫ Contrast of shape – organic vs. geometric

D. Principle of Gradation
The principle of Gradation refers to a way of combining elements by using a series of gradual
changes in the elements used by the artist. Unlike contrast which stresses sudden changes in
the elements, gradation takes gradual changes.

Examples of Gradation
⚫ Small - to – large shapes

⚫ Light – to – dark hues of color

21
Humn12n:Reading Visual Arts 22
KTJ

• Gradation of size and direction produces linear perspective.

In the Japanese wood cut print of the

five herons, the background gradually
goes from dark on top, to light by the
birds, then dark again at the bottom.
This is an example of gradation of
value.

In the student drawing of a hallway, we

see a gradation of space in how the areas
in the drawing seem to get smaller and
farther back in the image.

22
Humn12n:Reading Visual Arts 23
KTJ

E. Principle of Rhythm
Rhythm is concerned with repeating an element to produce the look and feel of
movement. Sometimes to create rhythm, an artist will repeat not just elements but also the
same exact objects over and over. This principle is often achieved by the artist through a
careful placement of repeated elements which invites the viewer’s eye to jump rapidly or
glide smoothly from one element or object.
Rhythm can be categorized as Random, Regular, Alternating, Flowing, and
Progressive.

Random Rhythm: This kind of rhythm is seen in an artwork where the artist groups
similar elements that repeat with no regularity.

Regular Rhythm: Regular rhythm is created by a series of elements, often identical or

similar, placed at regular or similar intervals. However, simple regular rhythm, if
overused, can create a sense of monotony.

Alternating Rhythm: This kind of rhythm is noticeable in artwork using two or more
motifs (units of pattern) alternately, such as black and white in a chessboard; a single
motif might be flipped, mirrored, or rotated; or the placement or spacing between

23
Humn12n:Reading Visual Arts 24
KTJ

motifs can be alternated. The added variety can help lessen the monotony of a regular
rhythm.

Flowing Rhythm: Flowing rhythm is created by undulating elements and interval,

bending and curving motifs and spaces. Natural flowing rhythm can be seen in
streams and waterways, beaches, and waves.

Progressive Rhythm: In progressive rhythm, each time a motif repeats itself, it

changes a little, transforming, and translating in a steady sequence. Here, the motif
progresses from one thing to another.

24
Humn12n:Reading Visual Arts 25
KTJ

To make it easier to classify the different types of Rhythm refer to the image below:

F. Principle of Pattern
The Principle of Pattern is the repetition of one or more elements in a consistent,
regular manner. Patterns help create unity, add variety or create contrast. It uses art elements
in planned or random repetitions to enhance surfaces of paintings or sculptures.
Patterns often occur in nature, and artists use similar repeated motifs (a distinctive
and recurring form, shape, figure, etc., in a design, as in a painting or on wallpaper) to create
these occurrences.
Note that the Principle of Rhythm may also include a sort of pattern. However, it does
not occur in a predictable way compared to the Principle of Pattern.

G. Principle of Repetition
In Repetition, art elements are combined so that the same or similar elements are used
over and over again throughout the design. For example, we can use similar or connected
elements like similar shapes, colors, or lines more than once. However, unlike Pattern,
Repetition can be regular/irregular and even/uneven. It can also form a sense of radiation
when the repeated elements are spread out from the center, or a form of gradation when
elements slowly become larger or smaller.

25
Humn12n:Reading Visual Arts 26
KTJ

Repetition strengthens a design by tying together individual elements and bringing a

sense of consistency. Thus, we can also say that repetition and pattern can go hand-in-hand in
creating unity within the artwork.

In Andy Warhol’s “100 Cans,” the artist used the

same shapes, colors and lines to create his image.
The pattern that was created has rhythm and
repetition because each of the elements are
repeated over and over.

To understand better the differences between Rhythm, Pattern, and Repetition you can watch
this video: https://youtu.be/qBlQnHclT-Y.

H. Principle of Movement
Movement is the principle of design used to create the look and feeling of action and to
guide the viewer’s eye throughout the artwork. It is the visual flow through the composition.
In some works, movement is implied by the use of static elements to suggest motion. In still
images, aspects such as lines, diagonals, unbalanced elements, placement, and orientation can
act as active elements. In others, movement can be real, giving some elements the ability to be
moved or move on their own.

26
Humn12n:Reading Visual Arts 27
KTJ

Ways of Creating Movement:

• Creating Movement with Lines
Lines can also communicate movement in another way. A drawn line is the path of
motion. Locations where a line begins and ends reveal the movement of the artist’s
hand.

In the drawing above, for example, lines tell us our karate hero is moving upward and
to the right.
• Creating Movement with Color
Just as dynamic lines add movement to an otherwise “still” work of art, the dynamic
use of color can enhance the feeling of movement as well.

The image above shows high- and low-key colors placed alongside each other. The
colors and dynamic lines work together to impart a feeling of movement.

• Implied Movement

Perhaps the best and most straightforward way to show movement in a work of art is
to carefully study how things change when in motion. For example, how does a person
change when walking versus standing still? Or, how does a person appear when running

27
Humn12n:Reading Visual Arts 28
KTJ

versus walking. By changing the balance point and posture of a person, the artist can convey
a static standing figure or the movement of a person walking or running.

The painting, Spanish Dancer, by John Singer Sargent

The illustrations above clearly illustrates implied movement (movement of dancing).

• Creating Movement with Illusion

This is also known as Optical Art. With no representational subject, Optical Art or Op
Art makes use of the brain’s natural efforts to organize complex visual sensory
information. We can think of this approach as overloading the sense of sight. Creating the
sensory experience of movement in a still image is engaging and exciting to the viewer.

28
Humn12n:Reading Visual Arts 29
KTJ

I. Principle of Variety
The same routine day after day can become dull and boring. The same color or shape
repeated over and over in an art work can become equally dull. To avoid dullness, artists use
the principle of variety in their works. This principle of design is concerned with combining
one or more elements to create interest by adding slight changes. This is the use of
differences and change to increase the visual interest of the work.
Variety works through placing different visual elements alongside each other and by the
use of contrast. For instance, straight lines next to curvy lines add variety; organic shapes
among geometric shapes add variety; bright colors next to dull colors add variety.

In George Seurat’s
“La Grande Jatte,”
there is a variety in the
many different
elements like shapes,
colors, and values.

J. Principle of Harmony
If too little variety can become boring, too much variety can also create chaos in a work
of art. Artists then try to avoid chaos in their works by using the Principle of Harmony.
The Principle of Harmony refers to blending elements to create a work of calm, restful
appearance. An artist may use similar textures, colors values, to make a piece feel even and
together.

29
Humn12n:Reading Visual Arts 30
KTJ

A set of colors that relate according to a specific scheme creates harmony.

Likewise, a uniform texture of brushstrokes across the surface of a canvas creates

harmony.

Another way to guarantee harmony is to choose compositional components that are

similar in shape and contour. For example, a composition that utilizes only curvy shapes will
have more harmony than a similar composition that includes both curvy and geometric
shapes. The parts of the image below are in harmony because every contour is a curve.

30
Humn12n:Reading Visual Arts 31
KTJ

In Piccaso’s “The Guitar Man,” the

use of the color blue throughout the
painting makes it seem to fit
together.

In Robert
Delaunay’s
painting
“Rhythm,” the
use of similar
shapes, values,
and colors give
the feeling of
harmony or unity.

One technique of creating harmony in a work of art is by utilizing smooth, flowing lines
and subtle color schemes that will easily blend together.

K. Principle of Unity
Unity is the principle of art that gives an artwork a feeling of “oneness”. Unity and harmony
are similar, but unity is broader because it does not only give the artwork a sense of cohesion,
but also wholeness and completeness. There are numerous ways to create unity in art. Some
of these ways are particular to individual artists’ styles.
Unity is also not just about the repetition of the same elements over and over again,
but it is the pleasing combination of the elements to create a harmonious composition.
Unity is about separate parts working together. We can better understand unity by thinking
about a car. A car’s purpose is to provide transportation. When the many parts of a car are
working together, it moves. No part of the car, separated from the whole, is capable of
providing transportation. When the car functions as it should, the parts are working together
in unity.

31
Humn12n:Reading Visual Arts 32
KTJ

In “The Musicians,” Botero

creates unity through subject
matter, through rhythm, and
through repetition of form, shape,
and color.

L. Principle of Proportion

Proportion is largely about the relationship of the size of one element when compared to
another. When drawing or painting realistically, proportion is important. If the proportions are
incorrect, then the resulting image will look less realistic or abstracted.

Alternatively, artists can use proportion for effect. By manipulating proportion, the artist
can make his/her subject seem strong, weak, funny, mysterious, etc. We can exaggerate
proportions to emphasize a meaning or an element within the scene. For example, a caricature
artist distorts proportion to create a stylized image of the subject such as the ones below.

32
Humn12n:Reading Visual Arts 33
KTJ

Proportion does not refer to overall size, but rather the relationship of the sizes of two
or more subjects or elements. In art, the size of an element is referred to as scale. For
example, a basketball and a baseball are different in scale but share the same in proportion.

Kinds of Proportion

Unrealistic/Distorted Proportions
Sometimes exaggerated or distorted proportions are purposefully used to convey
a particular meaning or message. By widening, lengthening, shrinking, and bending
parts of the human body, the artist can create a feeling or mood around the subject.

In Charles Schultz’s Charlie

Brown character, the proportion of
the head is way too big to the size
of the body.

Compositional Proportion
Compositional Proportion is a type of proportion that pleases the eye. One popular
concept was discovered by the ancient Greek Mathematician, Euclid. He called this
ratio the Golden Mean (The ratio expressed in numbers: 1.6180:1).

33
Humn12n:Reading Visual Arts 34
KTJ

The Golden Mean is often illustrated as a line that has been divided at a particular
point. The line is divided into two segments. The relative relationship of the one part
is to the second part as the second part is to the whole. The Golden Mean is best
understood through the visual below.

Table 1: To explain, C is to B as B is to A:

Artists have used the Golden Mean to help them make decisions about the placement of
important visual elements – not only in paintings – but also to direct the size and spacing of
architectural elements.

The Elements of Visual Arts and the Principles of Design serves the foundation of language
in art, just like the words we use when we talk, these elements and principle are what we use
to communicate with others.

An artist can decide the principles he/she would want to use in creating an artwork. The
artist does not necessarily have to use all principles to create a successful artwork. It does not
also mean that the artist can only choose one principle in creating an artwork. Different
principles can intertwine in one piece. However, an artwork, no matter how simple, has at
least one principle of design applied.

34
Humn12n:Reading Visual Arts 35
KTJ

Lesson 2.3: Understanding Formal

Analysis

Lesson Summary

This lesson will discuss the ways on how to write a detailed description of the visual elements
used in artwork. This will also enhance the students’ understanding of the artwork they will
analyze.

Learning Outcomes

• Identify the elements of art and principles of design used by artists.

• Evaluate the role of the elements of art and principles of design in the composition of
a work of art.

Motivational Question/Task

List down the different elements of visual arts and their classifications.

Discussion

Formal analysis is the breaking down of all the elements of arts and principles of
design used in an artwork. It is a specific type of visual description that looks closely at the
composition and the different attributes of art. Compared to Art Criticism where detailed
examination and judgement is observed, formal analysis is an in-detailed description of how
each element and principle are used in an artwork. This paper does not aim to evoke the work
in the mind of its reader. Instead, it explains the visual structure of the ways the different
visual elements are arranged and how it functions in the artwork.
In writing this paper, remember your goal is to explain how the formal elements of
the artwork affect the representation of the subject matter and its expressive content.
Remember that the emphasis of your work should focus on the detailed description and
analysis of the formal elements, and not on interpreting the artwork.
In writing your formal analysis paper, you will start with general information about
the artwork; the name of the artists, the year it was created, and/or the medium used for the
painting. You can also describe the subject matter and how it is represented. You can also
describe how it looks like, and the style used in the painting. In writing, you should also
provide a thesis statement that does not necessarily involve a statement of argument or
original insight, but it should let the reader know how the artist’s formal choices affect the
viewers.

35
Humn12n:Reading Visual Arts 36
KTJ

The body of your paper is the key part of your analysis. This is the longest section
that contains all formal elements you will discuss: line (straight, curved, diagonal, horizontal,
flowing, vertical, thin, thick, implied etc.), color (warm or cool), chape, texture, principle of
balance, unity, variety, movement, rhythm, etc. You can start each paragraph with a topic
sentence that tackles the importance of the element/principle you will discuss. You can also
organize your analysis of the elements according to its significant effect on the artwork.
However, you need to remember that although description is important in formal
analysis, this is not enough. You should also introduce and contextualize your description of
the formal elements to let the readers understand how the formal choices of the artist
influence the whole composition. You can also include your emotional response, but make
sure to back them up with evidence. Additionally, remember that all your analysis and
description should relate to your thesis.
For the last part of your analysis, you can summarize all your findings about how
each element of art and each principle of design work together in the composition. You can
relate back to the thesis statement presented in your introduction; however, avoid repeating
what you tackled in the introduction. In this part, you can also include new ideas, insights, or
understanding you gained about how each element of visual art and principle of design
function in an artwork.

Example of Formal Analysis:

Figure 25: Details of Renaissance Paintings

(Sandro Botticelli, Birth of Venus, 1482) (1984) by Andy Warhol

A Modern Venus
Andy Warhol’s piece titled Details of Renaissance Paintings (Sandro Botticelli, Birth of
Venus, 1482) represents the face of the goddess Venus. This piece was made in 1984 as a depiction of
the face of Venus from the earlier painting The Birth of Venus by Sandro Botticelli that was completed
in 1482. The piece’s present location is the Arkansas Arts Center, and its original location is the Andy
Warhol Museum in Pittsburgh, Pennsylvania. The piece is acrylic and silkscreen ink on linen, and it
can only be seen from one side because it is hanging on the wall.
The work is a colorful representation of the face of the goddess Venus as depicted earlier in
The Birth of Venus by Botticelli. However, Warhol uses more colors in his work. Venus’s face and neck
are pink while her hair is black, red, orange, and yellow. In contrast, the background is a solid light

36
Humn12n:Reading Visual Arts 37
KTJ

blue color. In Details of Renaissance Paintings, Venus’s face and hair are emphasized and the
dominant elements are her hair because of the warm colors and her gaze.
Warhol uses implied lines to direct viewers’ eyes around the artwork. The implied lines are
the strands of Venus’s hair that direct viewers’ eyes to the right bottom, middle, and top because the
strands are going in each of these directions. One bundle of hair goes down to the bottom of the piece
on the left side close to her face. This bundle of hair brings some direction to the left side, but not a lot
because the left side is mostly empty. However, this emptiness is balanced asymmetrically by Venus’s
gaze toward the bottom left corner and the light color used in the empty space. The light color of the
empty space is visually light; therefore, it does not have as much weight as the darker, warmer colors
of Venus’s face and hair. This visual lightness along with Venus’ gaze is strong enough to balance the
multitude of hair and part of a flower on the right side.
This artwork is composed of shapes because it is two-dimensional. Most of the shapes are
formed by lines and shifts in color. For example, Venus’s red hair is formed by a shift from the blue
background and her pink upper body. Lines outlining her hair in certain places also give form to the
shape of her hair. Therefore, both lines and shift in color are used together in some places and
separate in other places to create the shapes in the artwork.
In this piece, the light source is not seen. However, the light source is to the left of the artwork
because Warhol uses a light yellow color on top of the pink color that is already present on the left side
of Venus’s face which makes it seem like a glow is cast upon her face. Warhol’s use of warm colors for
Venus, her hair, and the plant in the top right corner contrasts with the light blue background. These
warm colors make her stand out from the background. Also, the warm colors against a calming blue
background give Venus an ethereal quality.
Warhol’s use of colors also creates unity and variety. His use of warm colors throughout the
piece and his use of one solid-colored background create unity in the artwork. However, the contrast
between warm colors and the cool color create variety. The flower in the top right corner also creates
variety because it is not a part of Venus, who is the focus. The flower is the only other thing in the
artwork besides Venus which makes the viewer question its purpose.
The placement of Venus’s hair and the curves of her hair create a sense of motion. One
bundle of her hair is at the bottom of the artwork. Another few bundles are in the middle and are
slightly separated. Another bundle of hair is at the top of the artwork. All of these bundles are curvy to
suggest movement as if her hair is being blown gently by the wind.
Warhol’s use of colors gives Venus a modern look instead of the traditional white color used
in The Birth of Venus that symbolized purity. The pink color used for her body makes Venus seem bold
and strong, not just beautiful, as a female goddess should be. Warhol further shows this by only
depicting her face down to her shoulders and not including her breasts and other sensual parts that are
included in The Birth of Venus. Through his use of color, Warhol created a different symbol of
boldness and strength for Venus instead of the traditional symbol of beauty. This boldness and strength
coincides with the role of women in modern society because women today are taught that they can
accomplish anything and everything while being independent.
(Example taken from: https://ualr.edu/art/files/2013/05/Sample_Paper_1.pdf )

37
Humn12n:Reading Visual Arts 38
KTJ

References and Additional Resources to watch and read

Garder, Helen (1948). Art through the Ages. 3rd Edition. Harcourt, Brace, and
Company.
Mittler, G. & Ragans, R. (2006). Glencoe Understanding Art, Student Edition
(Time Art Scene) 4th ed. Edition. Mcgraw-Hill Publishing.
Barnet, Sylvan. A Short Guide to Writing About Art. Eighth Edition. Upper Saddle
River, New Jersey: Pearson Prentice Hall, 2008.

Bernard, Teresa (2012). Principles of Good Design: Proportion. Retrieved

from:

http://teresabernardart.com/principles-of-good-design-proportion

Fussel, Matt (n.d.). The Elements of Art. The Virtual Instructor. Retrieved

from:

https://thevirtualinstructor.com/Shape.html

https://thevirtualinstructor.com/Color.html

https://thevirtualinstructor.com/form.html

https://thevirtualinstructor.com/Value.html

Hurst, Ashley (2018). Balance- A Principle of Art. The Virtual Instructor

Retrieved from: https://thevirtualinstructor.com/blog/balance-a-principle-of-art

Hurst, Ashley (2018). The Principle of Art. The Virtual Instructor. Retrieved

from:

https://thevirtualinstructor.com/blog/movement-a-principle-of-art

https://thevirtualinstructor.com/blog/emphasis-a-principle-of-art

Lovett, John (n.d.). Gradation: Principle of Design. Retrieved from:

https://www.johnlovett.com/gradation

Munsterberg, Margorie (2009). Writing about Art. Retrieved from:

https://writingaboutart.org/pages/stylisticanalysis.html

Pkinski, Deborah & Zucker Hannah(2008). Writing a Formal Analysis in Art History
The Nesbitt-Johnston Writing Center Hamilton College Clinton, NY.

38
Humn12n:Reading Visual Arts 39
KTJ

Videos you can watch:

https://www.youtube.com/watch?v=ZpVmPtEE6FE
https://www.youtube.com/watch?v=wQhuN1iR_9Q
https://www.youtube.com/watch?v=65WjYDEzi88
https://www.youtube.com/watch?v=VwUZ3PivD6I
Readings:
https://www.getty.edu/education/teachers/building_lessons/principles_design.pdf
https://courses.lumenlearning.com/sac-artappreciation/chapter/oer-1-9/
http://www.teacheroz.com/apah-elements.pdf

39