LESSON 5:

ELEMENTS OF ART
AND
COMPOSITION
OBJECTIVES
§ Identify the elements and principles of art
§ Describe the elements and principles of art
§ Describe an artwork using elements and principles of art
§ Critique an artwork using the artistic elements and principles
§ Analyze an artwork using elements and principles of art
WHAT ARE THE ELEMENTS?
It is the structure that we pay attention to as we
organize our perception of artworks. We rarely see
a single element in isolation; as a matter of fact, the
elements only configure or make sense when they
are viewed in relation to one another.
WHAT ARE THE ELEMENTS?
Knowledge of the art elements helps the appreciator
to understand what is seen when looking at a
particular artwork.
line
Defined as a narrow mark
made by a brush, or a line
created where two objects or
elements meet.
line
It defines the subject of
paintings and helps us imply
things such as movement.
line
Line is an important element at
the disposal of every artist.
Through the lines of a painting
or sculpture, the artist can
make us know what the work
is about. He uses lines to
represent figures and forms.
line
Lines always have direction.
They are always moving.

Lines may either be straight or

curved.
line
Straight lines are always
associated with the ideas of
steadiness and force, Curve lines
with flexibility, buoyancy, and
grace.
line
The straight lines moves in one
direction only. It may either be
horizontal, vertical, or diagonal.
 shape
A shape is an enclosed area
that is made when lines meet.

The word shape is often used

volumetrically to note
characteristics of a three-
dimensional forms or masses.
 shape
When the word shape is used in
reference to a two-dimensional work
of art, a drawing or a painting, it
describes an area of a color, tone,
line, or a combination of the three. It
also describes an area possessing
more or less measurable and
describable dimensions. If a shape is
regular or very simple it may be
easily described; if it is irregular or
complex it may resist verbal
description.
 shape
Shapes may be either
geometric or organic. The
former are the triangles,
squares, and circles we're all
familiar with. The latter are
those shapes that are not well
defined or those found in
nature.
 shape
Geometric shapes are
mathematical, like circles and
squares.

Organic shapes come from

nature, like clouds and leaves.
 shape
Organic shapes are characterized as
emotional and geometric shapes as
logical. For example, highly
amorphous paintings such as the late
works of Jackson Pollock are
characteristically understood as
meditatively evocative or spiritual,
entrancing and filled with life
substance. On the other hand the
geometric abstractions of Piet
Mondrian are often viewed as
mechanical, sterile, soulless
illustrations of cold logic.
 color
Color is a property of light.
When light goes out, color
goes with it.
 color
The artist usually refers to the
physical pigment as color.

The viewer tends to consider color in

terms of personal and emotional
response.
 color
Painters use knowledge of color
mixing to create a palette of
pigments, which is applied to a
surface.
 color
Painters may combine colors
intuitively, relying on what feels or
looks right.

Colors may be mixed according to

some master plan, that is, according
to some sort of formal, structural
logic.
 color
For most viewers, it is not the
technical or physical effects of color
that are most fascinating. It is the
psychological effect of color that
impacts most forcibly upon us.
 color
The impact or pleasure we feel from
a color does not stem from our
simply recognizing and classifying
that color; or response to color is
more open and personal.
hue
is the dimension of color that gives color its name.
Blue, red, and yellow are the primary hues.
If these primary hues are mixed in equal parts,
the secondary hues are produced: orange, green,
and violet
warm & cool colors
Red, orange, and yellow are the warm hues.
• They associated with objects like the sun, fire,
and other sources of heat.

• They tend to impart warmth to any composition

in which they are used.
warm & cool colors
Red, orange, and yellow are the warm hues.
• They are conspicuous, cheerful and stimulating,
vivacious, joyous and exciting. They are
suggesting an effect of advancing or coming
towards you.
warm & cool colors
Green, blue-green, blue, blue-violet are the cool
colors.
• They cause surfaces covered with them to appear to recede.

• They suggest distance. They are calm, sober, restful, and

inconspicuous.
 value
A well-rounded painting often has both of these, with
highlights and shadows adding to the overall effect of
the piece.

Value scale shows a range of lights and darks.

 value
Value is a term that is sometimes meant to refer to
tone, brightness, or shade. Most simply, value is the
relation of one part to another with respect to lightness
and darkness.
 value
The lightness or darkness of any color area in painting
is controlled by the addition of black and white to paint
pigments.

When white is added to any color it makes that color

paler. When black is added to color it darkens it.
 value
When white is added to any color it makes that color
paler. When black is added to color it darkens it.
texture
Texture, or the feel of things is more than simply a
matter of whether an object is rough or smooth.
We sometimes value objects according to their
tactile appeal.
texture
Texture is either an actual tactile quality of a
surface or the visual illusion of tactile qualities on
a flat surface.
texture
Textual effects in a work of art can contribute
greatly to our sense of richness and pleasure.
texture
Texture is especially important in sculpture
because the tactile qualities of materials have a
strong impact. The sculptor relies heavily on
textual effects to simulate subject matter
characteristics and thereby elicit recognition from
viewers.
texture
Painters also use texture to create a raised
surface when they apply pigments mixed to a
viscous consistency.
space and time
Space and Time are difficult
concepts to visualize, unlike the
other elements of art.
space and time
We can see a line, shape, color,
value, tone or texture, but space
is emptiness, a void, the absence
of something or nothing at all.
space and time
We say time passes or that time
flies, and we seem to mean that
the passing of time has escaped
our attention.
space and time
Both sculpture and architecture
are three-dimensional forms or
masses occupying or existing in
space and time.
space and time
Space serves as an environment
or background for both sculpture
and architecture, neither may be
created nor experienced without
an awareness and consideration
of space.
space and time
When we experience sculpture
and architecture as existent in
space, we understand them as
evolving in time. This evolution in
time may result from
modifications of its form.
 USE OF THE ART ELEMENTS
By understanding the elements’ impact
upon response and perception, the
appreciator’s experience of art takes on
richness and depth.

The viewer responds to and “reads”

artwork using all available emotional
and intellectual tools. The elements
provide a basic vocabulary for the
viewer’s reading of art.
 USE OF THE ART ELEMENTS

The artist technically manipulates the

elements with an end in mind—to
produce an expressive artwork; the
artist seeks to communicate through the
art elements, while the viewer “reads”
them to understand that communication.
FUNCTION OF COMPOSITION
A work of art always represents a balance between
some elements that are unified and others that are
varied.

There is no ideal combination of unified and varied

elements in art. Unity and harmony may prevail in one
work, while variety might outweigh harmony in another.
FUNCTION OF COMPOSITION
The discussion of compositional principles outlines the
means used to relate and interrelate the parts of an
artworks.
balance
Balance in a work of art depends upon variables
such as placement, size, spacing, proportions, and
direction of shapes in the composition.
balance
Balance, as an abstract idea, is neither desirable nor
undesirable. Too much balance can appear boring
and static.
There are two types of balance:
SYMMETRICAL OR FORMAL
In pure formal symmetry identical visual units are
bilateral, equally distributed on either side of a
vertical axis in mirror-like repetition or concentric,
equally distributed relative to a central point.
There are two types of balance:
ASYMMETRICAL OR INFORMAL
Relies upon subjective equilibrium among parts of an
artwork. This kind of balance has no dividing axis, no
center point. When a work is in asymmetrical
equilibrium, the viewer judges opposing forces and
their tensions as balanced.
There are two types of balance:
ASYMMETRICAL OR INFORMAL
This balance may be between clearly contradictory
forces such as black and white, yellow and purple, or
positive and negative.
RHYTHYM
AND
REPITITION
Rhythm is produced in a
work of art by a repetition
of elements in an
observable sequence.
RHYTHYM
AND
REPITITION
Musical terms are often
used to describe the concept
of rhythm, because rhythm
is most clearly
demonstrated musically.
RHYTHYM
AND
REPITITION
A rhythmical sequence may
flow or be punctuated by
pauses or staccato beats.

Rhythmical sequences in
visual arts often occur in
triad because three is the
smallest number that
produces a perceptible
sequence.
RHYTHYM
AND
REPITITION
Some works of art possess
a rhythmical system of
“beats” and “measures”.
RHYTHYM
AND
REPITITION
Rhythm and repetition are
inseparable. Repetition
produces rhythm. Repetition
is the means used in a
picture or sculpture to
reemphasize forms, colors,
and textures in keeping
with some pattern.
 DOMINANCE
AND
SUBORDINANCE For one part of an artwork to
dominate, that part must stand
in contrast to what surrounds it.
 DOMINANCE
AND
SUBORDINANCE The dominant part must
become a highly accentuated
focal point of visual interest.
 DOMINANCE
AND Dominance in artwork is
SUBORDINANCE usually a part of an overall
alternating scheme in which
elements are stressed and
diminished repetitively.
 DOMINANCE
AND Subordinance of one part of a
composition allows another
SUBORDINANCE part to draw attention. Failure
to orchestrate emphasis invites
ambiguity and indeterminate
viewing of the artist’s work.
Prepared by:

CHRISTIAN M. DAGSIL
Mass communication and Performing Arts
Department
College of Arts and Letters
Bulacan State University
Sources:
Squires, W. (2000) Art, Experience and Criticism Fourth Edition. Needham Heights, MA: Pearson Custom
Publishing

Sanchez, C, et. al (2012), Introduction to the Humanities. Sta. Mesa Heights, QC: Rex Printing Company, Inc.

Boddy-Evans, M. The Elements of Painting. Retrieved from https://www.thesprucecrafts.com/elements-of-painting-

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