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    READINGS IN VISUAL ARTS. Visual Arts Defined ‘These are the arts that mee the ey€ and evoke an emotion trough ‘an expression of skill and imagitation. They include the most aneient forms, such as painting and drawing, andthe ars that were bor thanks to the development of technology, like sculpture, printmaking, Photography, and installation art. Wikipedia defined visual arts as art forms such as painting, drawing, printmaking, sculptere, ceramics, photography, video, filmmaking, design, crafts, and architecture. Many artistic disciplines such as performing arts, conceptual art and textile arts also involve aspects of visual ats as well as arts of other types. Also included within the visual ants are the applied arts such as industrial design, graphic Symbots and icons Video and animation, > Web page design As you can see almost anything that if arranged deliberately and designed convincmely within a document becomes part of the document's visual persuasion, Guidelines for Integrating Visuals ‘Aim for a combination of visuals and text that is readable and ‘understandable for the medium and format, whether sereen or print. Y Decide which types of visuals will be presented as numbered figures and which will flow ns part of the tex lowoduce each visual with sufficient textual explanation — a heading, phrase, sentence or paragraph. Use headings, labels or callouts to clarify the content of Figures and tables, ifneeded, Use size, texture and color coding (if available) to make various parts ofthe visual distinct. Provide a meaningful caption for every figure. Follow all visuals with a textual explanation of what they ilustrate and their meaning. a8 VISUAL ARGUMENTS The phrase visual rhetoric is offen used in place of visual persuasion because thetoric describes the field of study associated with ‘argumentation. A visual argument can be without any words and sill ofr a particular point of view or position. Ina scren-based culture, Nisual rhetoric is © powerful fore in making arguments and creating communication. Cattural Elements of Visual Persuasion ‘READINGS VISUAL ARTS ant} People see information and persuasion differently because most visuals cary specific cultural connotations and associations. For example: ‘After Q! Simpson's arrest for murder in 1994, some readers noticed that a maxzzine cover detiherately darkened Simpsons’ skin 10 ‘make hum Took more menacing ‘When yeu are not sure about your audience's cultural background, knowledge, of beliefs, try 10 choose neutral or universally positive symbols and images. VISUAL DISTORTION AND ETHICS Readers expect illustrations in technical and public documents to demonstrate te truth as accurately as possible. The altering of illustrations has always taken place, but digital software makes it easy 10 ‘change elements in a photograph or illustration, ‘There isa fine line however, between enhancement and visual distortion. Ifyou alter an image extensively in oder to change its context ‘ormeaning deliberately, you have engaged in uncthical behavior. Photojotmalisis, for example, are required to verify accurate photographic images just as they fact check other sources. ‘An alteration distorts the meaning of the visual for readers and is ‘deemed unethical illustration. ‘The false understanding, from this could potentially cause many serious problems, legal difficulties, and ‘misunderstandings. Your credibility as the conimunicator forms a crucial part in persuasion because unethical visual persuasion can result in distortions of th truth, stereotypes, or biased propaganda, IF hat happens ‘you will ose the tnst of your audience. Guidelines for Visual Persuasion in Technical Documents Use deliberately arranged visuals to create the desired effect for ‘your audience ~ whether itis an emotional response or accurate ‘conclusions from a data display. Determine whether the cultural associations with the visuals used Ihave symbolic, positive, or neutral connotations for your audience, i ‘Compe by RMEBTORRES. Sty fr Chutoom Perio Pe en preterm. m Check to see whether the intended audience for your document understands and responds to your visuals. Check your final document to see that all your visuals and arrangements display accurately on paper, on the web, and on {ifferentsized compater screens. READING VISUAL ARTS, Visual Arts focus on the creation of works which are primarily visual in nature. These are the arts thal meet the eye and evoke an emotion ‘through an expression of skill and imagination. Examples: painting = drawing ~publie at 2 Groups of Visual Arts GRAPHIC ARTS ‘+ covers a broad range of visual artistic expression, typically eo- dimensional, produced on a flat surface, The term usually refers to the arts that rely mare on line or tone than on color. = painting + drawing bindery “Bowen “graphic desions -drafing (fine arts) advertising architecture calligraphy + print-making PLASTIC ARTS ‘= are at forms which involve physical manipulation of a plastic. medium by molding or modeling. ‘© Materials for use inthe plastic arts, in the narrower definition, include those that can be carved or shaped, such as stone of += origami pape Folding PAINTING Painting is a category in visual and fine arts that involves the application of pain, pigment, color ofthe medium. Through painting, the ‘expresces his emotion and perception using ereative umagination. ‘The artist also reveals his inner state of mind through diferent media and clements. Painting began with the development of pre-historic, Exyptian, ‘Greek, Roman, medieval, Gothic, Renaissance, baroque, Romane and ‘modem art Basie Elements in Painting T measity — the perception and representation of impact in painting. 2. Color and Tone ~ the qualities of objects or substances with respect tothe ight reflected on theme, These elements are highly ‘subjective but have observable and peychological effects ‘Sle and Textare— techniques and surface angles ‘Media ~ diferent types of methods and materials used in painting ‘Line the simplest and more universal means for eeatinga visual aut. Iisa prolongation ofa pont, itcan be straight, curved, broad, horizontal, vertical or diagonal, 6 Form-the extemal appearance ofa cleaty defined area. 7. Light and Shadow ~the means of modeling a figure in depth oF aticulating a form, 8. Value ~ the relative degre of lightness and darkness in a graphic ‘work of art or paiming. It indlewes the degree of luminosity, that fs, the presence or absence of light ‘Comply RMEETORRES. Sy tr Caro Pry oy. Pee al epee int Prion NATURE OF ART ‘Art existed since man leamed to draw and before he could even start to talk as showin by the early pre-histone period. The body of nts ‘considered as ideas, beliefs and values of the past, present and future. Art isnot nature; an is made by man, ‘Axt's greatest achievement is that it creates @ permanent impression of the passing scene, unlike a plant when uprooted will not always stay fresh for somehow it dies. The freshness ofa living plant can ‘be captured and preserved in the canvas ofthe artist. Therefore, a never ‘grows old as seen and interpreted by the artist PURPOSES OF THE ART 1)To create beauty ‘Arthas always added beauty to our lives, At times, artists have ‘considered nature asthe standard of beauty. Other times, the ans has aimed to improve upon nature, developing an altemate standard, This is an idealized form. However, one artform ced not be sen as intrinsically superior tothe other. Standards of beauty in and of themssives are by no ‘means universal ~for beauty is inthe eye ofthe socity’s beholder. 2) To provide decoration Works of art have been used to create pleasing environments Paintings, sculptures, and photographs find their way into rooms, cous, and gardens for use as decorations. 3.) To reveal truth ‘Antsts have pursued truth and attempted to reveal it, ruth about how the world works, how it works. They have also reached outward to describe truth about humanity and have reached inward to describe truths about themselves. The “ugly truch” just like “beautiful truth” validates the buman condition 4) To immortalize ‘Am artist can defy mortality by creating a work that will keep his talents and his tragedy in the public's consciousness for decades. 5.) To express religious value Art has been used to express hopes for fertility, to propia the gods, to symbolize great religious events and values, snd to command. hheavenward the souls of the depart Until moder times, the history of art can be studied n terms of expressing religious values alone. 6.) To record and commemorate experience From prehistoric paintings to the Vietnam Memorial in ‘Weashingion DC to the Edsa Shrine inthe Philippines, an kas been used toinform Future generations of what and who have gone before them. Art also serves 10 convey the personal expeticnees of wn anit ad revo hip Jnpression in ways mere words cannot say for posterity. 1) To create order and harmony [An artist makes use of composition to put order in the diverse content of his work. Composition is the aesthetic arrangement of flemenis within a werk of at. An example ofa perfect expression of ‘order and harmony i found in the lapanese sand garden. These medieval gardens frequently accompany pavilions and are at the service of Zen, a Buddhist sect that socks inner harmony through introspection and meditation. WAYS OF ART PRESENTATION OF ART NATURALISM — re'ers to the depiction of realise objects. Ex. Landscape paintugs that show the accurate and precise portrayal ofthe subjects ABSTRACT ~ the degree of independence from any visual reference. It isamother way of presenting a subject, IMPRESSIONISM ~ adopts details and mental associations to evoke subjective and sensory impressions instead of recreating objective reality, EXPRESSIONISM ~ presents the world solely from the individual's subjective perspective distorting it radically for emotional effed to sti ‘up moods or ideas. (CUBISM - breaks up, analyzes and re-assembles an object into an abstract form rather than depicting it from one viewpoint. SURREALISM ~ focuses on mystical and metaphysical experiences dealing with pervasive subjects and excessive rational thoughts. REALISM — depicts subjects in an objective reality and without embellishment or interpretation. Its popularity grew withthe Introduction of photography in the later part ofthe 19 century, ELEMENTS OF THE VISUAL ARTS Whenever we see an art object, we cannat fail to notice several things: shape or form, texture, space, and lines which the artist used in expressing his ideas, These are called the elements of the visual arts. Like ‘medium, cloments are present in every art form. All arts have certain ‘clement of their own. LINE, = Line is an important clement at the disposal of every arts. “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 always has a direction. They are always moving. Lines, as ‘used in any work of art, may ether be straight or curved, ‘One usually lies prone when asleep or when at rest and stands erect ‘when im ation, One stands stiff and straight when resistant or stern, and Felaxes when ina playful mood and the lines of hithar body fall nto easy ceuves. When one isin motion, he or she bends forward; when he or she ‘encounters an opposing foree, he or she braces agains it, The greater the ‘opposing force, the sharper will be the angle of hisher body and the srnighter will be the line ‘We have learned that certain emotional states always find expression through definite positions We associate the emotions with lines that define their accompanying positions. When given a work of art we call ‘upon our unconscious with iis accompanying emotional state. Straight Times are always ascociated with the ideas of steadiness and foree, curved Tinee with flexibility, buoyancy, and grace. The straight line moves in one direction only. Itmay either be horizontal, vertical er diagonal 1. Morizantal Ines are fines of repose and serenity. They ‘express ideas of calmness and quiescence, Horizontal line {s found in reclining persons, in landscapes, alin bodies of ‘water and in the distant mesting ofthe earth and sky in what scommonly called the Horizon. The horizontal lines of the sarcophagus ofa Prince (Fig. 1) are suggestive of repose. It hows the portrait coffin where the mummy of a young som of Rameses If was laid Figure 1 2. Vertical lines are Vines poised for action, they are poised, balance, forceful and dynamic. Vertical lines seen in a ‘person Standing straight, al ee, and statues of saints and ity. Vertical ines also {end to express as well as arouse emotions of exalation and {nquietude and this is evident in monumental architecture ‘The Gothic cathedrals express elements of inquitude and exaltation that possessed the sul of Nothem Europe inthe later Middle Ages. Digital tmes suggest actions and movement, They give ‘animation to-any composition in which they appear, Almost ‘every object im action assumes a diagonal line. A running pperson makes a diagonal line with his body and legs. The ‘degree of action is shown by the angle of the diagonal. ‘As maters in any art try to perfect their technique, they are able 10 ‘work more or less instinctively, and they begin to express themselves, ‘more and more through the freedom, buoyancy, grace of curved lines, ‘They also have leamed to restrict their use of straight lines to types of ‘work, the structural requirements of which are steadiness and force. Curved lines suggest grace, movement, flexibility, joyousness, and race. They are never harsh or sicrn since they are formed by a gradual change in direction. They tend to impart these qualities to any work where they are used. The curved line ofthe woman's body and the bamboo stem ‘where, according to Philippine legend, man and woman sprang, as {depicted in a mural as depicted by the late artist Carlos Francisco (Fig. 2) show very clearly the grace which only curved lines could depict. Lines may also be classified into three groups: lines which follow cor repeat one another, lines which contrast with another, and transitional lines which modify soften the effect of others, Repetition occurs when two or more lines are drawn within a comer following the lines ofthe comer. Lines that are in opposition to each other form a contrast. When a curved line cuts across a comer from an opposition line to another, it forms a transition line. Transitional lines ‘especially when the object is transparent. Most surfaces absorb all the color rays except those which yield single color sensation and therefore appear to be of that color. A blue dress absorbs all the color rays except ‘the blue rays which it reflects. 4 red ball absorbs all the color rays except the red ray which is it reflected. The color of an object therefore 13 determined by the rays which are reflected to the eyes the beholder ‘Objects that appear to be black absorb practically all the color rays and reflect none, while objects that appear white reflect all the color rays ‘equally. Gray is due to the partial reflection of the color rays. Whit ‘and black have no color quality. They are called the neutral colors, ‘Color has three dimensions or attributes: hue, value, and intensity. |. Hue is the dimension of color that color its name. when we say the flower is yellow, we are naming its hue, Color names such a red, blue, green, violet, and yellow indicate the oolor characteristic falled hue. Blue, red, and yellow are the primary bves, If these primary ues are mixed in equal pars, the secondary hes are produced. The secondary hues are orange, greea, and violet. ‘Orange is produced by mixing red and yellow; green by mixing yellow and blue; and violet by mixing blue and red. The primary {and secondary hues are shown in the following diagram. “Any bue in the color circle ean be made by mixing itso neighbors. Mixing yellow and orange will produce a new hue Jellow-orange, Orange and red will produce red-orange. Yellow- ‘range and red-orange are called intermediate colors. Altogether, there me twelve easily distinguishable hues: yellow-orange, ‘orange, red-orange, red, red-violet, violet, blue-vidle, blve, bluc- freen, green, and yellow-green. (Fig. 3) shows all the twelve colors. Warm and Cool Colors Colors may either be warm or cool. Red, orange, and yellow are the warm hues. They are associated with objects lke the sun, fire, and other sources of heat. They tend to impart ‘warmth to any composition in which they are used. They are conspicuous, cheerful, and stimulating. vivacious, joyous, and ‘Campy RMIESTORRES. Sty fr Caron Pere Pe eo epee wot Frm modify the sharpness of vertical and horizontal giving a harmonizing effect. Color Properties 1. HUE is the particular identity of the color. 2. VALUE denotes the lightness and dariness ofa color. 3. INTENSITY pertains tothe brightness or dullness of color. Delight in color is a universal human characteristic. Color is a property of light. When light goes out, color goes with ‘The white light ofthe sun contains all the colors of the spectrum: violet, indigo, blue, green, yellow, orange, and red, These colors are 30 blended that they yield no sensation of ealor. When a beam of light passes through aprism,the different rays of color are separateds that we are able to see and identify them. When light strkesa surface, some of the color rays are absorbed while other are reflected. Others pass through, es exciting. They are stggestive of impetuous or instinctive action. ‘They are called advancing colors bocause they have an effect of advancing or coming towards you. The cool colors are those ‘whore blue predomiaates like green, blue-greea, blue, and blue- violet. They caused surfaces covered with them to’ appear to recede. They suggest distance. They ae calm, sober, restful, and inconspicuous, Red, the color of fire and blood, is the warmest, most ‘vigorous, and most exciting of the colors. Yellow, the color of light, is the most beliant, cheerful, and exultant of the colors Blue, the color of thesky and of deep still water, isthe coolest and the most tranquil oF the colors Figures Color Harmonies ‘There are twe kinds of color harmonies: related color ‘harmonios and the eontrasted color harmonies. ‘Related color harmonies. These may cither be ‘monochromatic or adjacent. Monochromatic harmony ismade tp of several tones of ane hus, like for instance orange, t brown and otter tones from the orange family. ‘Monochromatic harmonies are the simplest and easiest to use. Different tones of the same hue all have something in ‘common, s0 it is easy for them to agree. 2. Value refers to the lightness or darkness ofa color. It isa quality Io adjacent or neighboring harmony, two oF three neighboring hues on the circle are used together. For example, tones of green, yellow, and orange can produce a delightful trarmany. They have something in common becaise there is yellow in green and im orange. Good adjacent harmonies can be produced by using other groups of neighboring colors like yellow, orange, and red: or orange, red, und violet b. Contrasted color harmonies. Colors which directly lie ‘opposite cach other in the color circle are called ‘complementary colors. Red and green, orange and blve, violet ind yellow are complementary colors. They contrast with each other strongly; therefore, they are more difficult to used ‘harmoniously than the related color combinations, However, en they ae propery harmonizd, they give very bea ects. which depends on the amount of light and dark in color. The value scale shown in (Fig. 4)has nine value steps starting from whiteto black. {| Lg Figure 4 ‘An understanding of values will help the artist to use colors to the best advantcge. It will offer important suggestions for the rangement of color values in interior decoration. The floor ‘should be the darkest inthe room, the wall should be lighter, and the ceiling, the lightest. IF the color of the looris lighter than the wall it wll not give the feeling of being a solid foundation, which is one of the prerequisites of a good floor. Tints are value above the normal and shades are values below ‘the normal, Pink isa tint of red, maroan is a shade of red. Sky- ‘blue is a tint, navy-blue isa shade. ‘The value of ahue can be changed. We raise it by adding more light to it so that reflects more light and lower it by reducing the light it cam reflect. 3. Intensity refers to the brightness or darkness of color. It gives color strength. Colors differ in intensity. Intensity differences may be described as full intensity, two-thirds intensity, two-thirds ‘neutral, and neutal. Two colors may be both blue, but one is more ‘intense than the ther. When a hue isin vivid form, iti said to be in full intensity. When it is dulled, it is said to be parlly ‘neutralized. The more black or white is added, the weaker is the inensity. Color plays an important role in the work of artist. Although painting is known as the at of color, color is also important in sculpture and architecture. Buildiags are painted; bronze is selected for its cich brown color and marble for its whiteness. Psychology of Colors ‘One important thing the artist has to remember is that colors are known to have varied psychological and emotional connotations. Black, for example, is associated with death and gloom: white stands for purity and innocence. Blue is the color of heaven while red is associated with ‘blood. It signifies anger and provokes fear. Red impels people to action, READINGS INSTAL ARTS Handa ‘Compedby RMIEBTORRES. Sey fo Cte Pessoa, Pee nt erode ihn Permian (Orange helps. person 1o be assertive. Green the color of nature, promotes the feeling of well-being. It umplies happy and restfil association and natural abundance. 1 is wise for the artis 1a remember these psychological connotations ‘when choosing color for hivher work. Architects for example, are known to use different eolor relationships for ‘church and for a reception room in order lo ereae right mood among, the observers Connotations of Color Human responses to color vary but in genera, you an thik of ‘arm, cool and neutral colors wen soking ona proce +" Warm eolors have yellow undertone suchas bight red orange, Yellows and green yellows and are tpealy thought 19 capes ‘Narmih comfort cneruy. These colors alo tend fo make ines Sand out and advance tran fom the page or secon + Cool solershave a blse undertone nd inchae voles blues, an Sod pres, When they ae used together col colors scem tmave Stay fom the siewer and express coolnes, + Black, pave and wlites are entra; browns, beiges and tans are Sometimes called neural ss well: Newt colors are the mest ‘Rowble because they often work harmoniously with other solos Cottaral Associations with Color "> Associations with color ean differ based on culture. In some ‘caltures, for ceample, red may indicate warning, or caution ‘while in others, red may indicate celebration or luck. > Cultural associations vary widely and it oftenit isnot possible to generalize. Many large intemational companies have {groups that specialize in translation and localization and these ‘groups are expert in loving what approach to take when sing visual, color and other features in documents that have ‘2 cross-cultoral audience. You can also find useful jnformation, about cultural connotations of color by doing Using Color in Software Programs Whether working alone or with a graphic designer, technical ‘communicators, may not need to use computer-based color palettes in software programs and color printing specifications for ‘multi-color print documents. When designing documents, you ‘may need to decide when to use color and even choose what colors {0 use for highlighting information. Full color documents can ‘become quile expensive when printed but color adds no cost when ‘you're designing exclusively for on-screen use > Color can affect Ble size, however, and will contitute to ‘downloading time for users. Photographs and illustrations ean also bbe changed to gray scale (black and white) images may lowe their sipact. Color Interpretation Teis.a serious study of the symbolism of colors that will each a student the correct concept of color interpretation. ‘This will lzo develop the students" proper application and use of color in everyday life, Some, colors and ther symbols are as follows Calor Interpretation RED passion, Tove, energy, war, courage, smth, blood, festivity, bravery, danger sweetness, delight, appiness ‘sunshine, warmth, ight freshness, hope, prow 3011 water, wenstaon ‘coolness, sky, water, pence. royalty, shadows, penance, power, wourin ace “rief, death, loneliness We giving ear natural Tove: Jealousy research about color theory: ‘Spy, eauy, tarageTeS ‘Conservative personality, humility, confidence, earth and autumnfollow Rese ARTS Hm) ‘omotedy RSIERTORNES Sy fr Choon Porpon ay Pte et repeat tt Rr, % Uses of Color Colors offer valuable options for highlighting information, designing layouts, creating visuals, and evolving emotions and other responses from users. Designing documents that use color ean be ‘complex, though, because a color's appearance varies according t0 the ‘media and technologies used. You may find that colors in your document do not look the same as they did on a computer monitor. ‘When preparing color documents for page or screea, you need to decide when and how to use color, what colers to use and also how they will be displayed, In general, follow these three steps: 11) Consider the audience and the context for a document when deciding to use color.” 2.) Apply effective color design techniques. 3.) Conde way rescar nde the document wit your target and audience. you decide o use color, select one color fr selective emphasis. two colors for contrast or full color for printing, consider other design options as well, like type style (such as bold) or a simple design clement (a line) instead of color. TEXTURI “Texture is the element that deals more directly with the sense of touch. I has to do with the characteristics of surfaces which can be rovgh ‘or smooth, fine or coarse, shiny ar dull, plain or irregular, Texture isthe ‘best appropriated when an object is felt with the hands. ‘Texture is found in all the viualarts. A painting, a building ora piece of sculpture have texture which are felt and described in varity of ways. Texture is due primarily to differences in medium. In architecture, the different fee of wood, concrete, and metal, determines the texture of the building. The sculptor ean also produce differences in texture in his ‘works. He can leave marks on the surfaces ofa statue or he can pois it ‘opty RMEFTORRES. iy Cnr are ny et pee {o tive it a shiny and smooth texture, Together with the other elements, texture can contribute o the foal effect ofthe finished work of an. In painting, texture is wed to represent the skin, clothes, jewelry. furiture, and thers. Texture can add richness and vitality to paintings, ‘Contemporary painters have realized the important effects of texture on their work. During the nineteenth and twentieth centuries, high premium was placed on very smooth surfaces and forms. A. group of painters including Cezanne, Picasso, and thers emphasized texture by purposely ‘making portions ofthe paintings ough. ‘The aesthetic value of texture lies frst ofall in the fact that it ‘makes gradation of color possible. Flat colors are never beautiful, Texture fives a surface unevenness which causes the color ofthe surface to be broken inte gradations of light and shade, giving ita charm ofits own, ‘Texture is very real to the sculptor and architect beeause wood, stone, brick, coverete, and metal fee differen to the touch. To the painter, texture isan ilusion, He must make an object Iook like the way it would fel when one touches it, PERSPECTIVE Perspective deals with the effect of distance upon the appearance of objects, by means of which the eye judge's spatial relationships, It enables us to perceive distance and to see the postion of objects in space. ‘There are two kinds of perspective: linear perspective and aerial perspective. To get depth or distance, an artist uses both linear and aerial perspective, 1 Linear perspective is the representation of an appearance of distance by means of converging lines. The tracks of a railroad appear tothe viewer as seeming fo rise and meetin the distance. Linear perspective has to do with the direction of Hines and with the size of object. Painters usually show the effect of space and distance by using converging lines and diminishing size. Parallel lines below eye level seem to rise to a vanishing point in the horizon, while those above eye level seem to descend to the Vanishing point. Objects appear smaller as they recede into the distance. People or objects, atthe background of a painting, seem to be shorter than those in front Figures. The above represents an appearance of distance by means of converging tines becuse the pathway appears to a viewer as Sceming to rise and meet in the distance. A facet of linear perspective which is applied chiefly to the human figure is Joreshortening. Foreshortening is the representation of objects or parts of the body as smaller from the ‘point of view of the observer. The more nearly an arm, limb or body is placed at right angles to the observer, the shorter it looks. ‘Anextrome example of foreshortening is Mantegna's Pita shown in Fig. 2. Aerial perspective is the representation of relative distances of ‘objects by gradations of tone and color. Objects become fainter in the distance because to the atmosphere. Objects appear to be lighter in color and the outline vaguer as they recede into the distance or into the atmosphere ilding is seen as it appears in space, while the interior és ‘en by who is inside an enclosing space. Painting does not deal with space directly. It represents only a two-dimensional surf. Sculpture has ery litle to do with space. FORM Form applies to the over-all design of a work of art. It describes the structure of shape of an object. All the visual arts are concerned with form, Sculpture and architecuure deal with three-dimensional forms although sculpture deals with exterior form alone because we do not get inside a statue but we always get inside a building. The sculptor is restricted to masses in relation to other masses as a means of interpretation. Michaelangelo's “David ideatizes and conventionalizes fooms and features, like the best ofthe Golden Age Greek sculpture Good architecture allows outward forms to be governed by what {goes on inside them. A house is a place for a funily to live in, therefore the inside should be carefully designed to meet the needs of the family. If the exterior form of the house expresses clearly the interior form, the house becomes a good piece of at. A church rust express on the outside, that inside is a place of worship for it to become a good work of ar. ‘Compty RMEBTORRES fet for Cham Parnas et pea ont orm Throughout, the use of forms therefore, is the guiding principle “forms follow structure.” This means thatthe inner content of purpose or function ‘governs the cuter appearance. Jn addition to function, another Factor in determining form isthe ‘way in which a building is constructed. The skyscrapers would not have been built had it not been made necessary by rising land values resulting from urban congestion. Great architecture, therefore, is produced only ‘when the elements of function and construction are integrated by erative design. Triangles, circles, and rectangle are favorite designs used by painters. Tables, buildings, picture frames, and fumiture are usually ‘composed of cubes or rectangular solids. Oranges, electric bulbs, lakes, ‘and domes are shape as spheres. Trees, mountains, and flowers, and ‘cones. The trunk of trees, human arms or legs, and pencils are eylinders. In painting or other two-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 ‘ras the objects themselves. To develop our ability to recognize these shape or forms is to soe objects or Forms is to see objects around us as of | ‘a particular color, texture, oF tone. YOLUME “The term volume refers to the amount of space occupied in three dimensions, It therefore refers to solidity or thickness. We perceive ‘volume in two ways: by contour lines or outlines or shapes of objects, and by surface lights and shadows. This is the primary concem 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 ait. The outlines or shadows change every time the viewer shifts his position. The viewer, therefore, may obtain not one but many different impressions from a single work. {ans of the design wil give an appearanes of belonging tgs. ather ‘ord thee must be unity. Repention of ange and eunves shapes, ies Zn colors will give a harmonious effect. ever dane, hough Fpsition tmay become monotonous and iemay fal to bold he tention an ces the observers To releve monotony. thre mse vary. Vary is Saito be the spice of te and of a: Vay may be ahnved by te Siversiy of mateals used and Sight contrasts in clr, texture shapes, fod spe arangsonts Maw fect ext an el maybe In painting and in interior decoration, the complementary hues ‘when used will give contrast. The intensity of a hue may also be varied. A sculptor may obtain variety through the use of contrast in tesaure, such a smooth and rough, in his work. An architect, instead of using a long line of windows, may’ relieve the monotoay by grouping the ‘windows and introducing spaces between groups. The monotony ‘produced by vertical lines of columns in building may be relieved by ‘ranstions lines. I the wallpaper in a room is figured, the use of plain ‘cartains will make it more beautiful and restful. The artist must be careful thatthe variety he introduces does not destroy the harmonious effect. BALANCE A pleasing relationship between the various elements ofa work of artis not the only requirement for beauty. These elements must also be so ‘aringed that a feeling of balance and equilibrium exists between them. ‘We are all familiar with the word balance. If all the parts are equally dismibuted around a central point, we achieve balance. If weights are ‘equally distributed on each side of a center or fulcrum, asin a see-saw, Wwe have balance. Balance gives.a feeling of stability and rst ‘We see many examples of balance in nature. The human body is. wall balanced; that is wiry itis possible for a person to stand ercet. The arrangement of branches and leaves of trees shaves balance. Balance is ‘also presented in a well-arranged room, in flower arrangements, and in the costumes of people. Balance makes an object ar room not only interesting but also pleasant to look at Because painting is two-dimensional, volume is an illusion because the surface of the canvas is fat, The painter can only suggest ‘volume, To make his figures have the illusion of thickness, the painter decides arbitrarily from what direction he wants the light to fall. He then ‘pains the lightest portions bright and those in shadow. dark. ORGANIZATION IN THE VISUAL ARTS: “The various elements of the visual ans, which were discussed in the preceding portion ofthis book, must ‘be used in such way that they form combinations which are correct and ‘beautfil. This isthe Function of organization. Principle of Design "The organization of the various elements of the visual arts is governed by differeat principles of desiun. Through these principles, the ‘nist can form more beautiful and interesting color harmonies and more beautiful combinations of shapes, textures, and lines. Design makes it easier for an artist to express his ideas in such a ‘way that the observer becomes interested in his work. It also makes objects in our environment more comprehensible, Sculpture organizes the fbuman or animal form, architecture organizes space through the arrangement ofthe pats of a building, both interior and exterior, in order to produce a pleasing and interesting patter. ‘The design of an art object makes it possible for an observer to tell its fanction. An industrial establishmem is designed 10 express a ‘businesslike atmosphere of efficiency, and satisfying experiences ‘There ‘no end to the ways by which artists can give people experiences that ‘vill uplift their spirits so that they forget the tedium of their everyday ‘existence, HARMONY Harmony is essential to beauty. In the visual arts, it is achieved by establishing a pleasing relationship between various elements. There is ‘harmony if te various. ‘Balance may either be formal or informal, 1. Formal balance. It is also called symmetrical balance. This is achieved by making both sides exactly alike, Objects ofthe same size and shape, when arranged on two sides of a center, will produce a formal balance. We sce formal balance in double- breasted suits and coats where we have a row of buttons the left ‘and the right sides, and in a mantle where two flower vases are placed at equal distance from the center. ‘This kind of balance gives an atmosphere of dignity and formality. It 4s common in typical classical architecture like the Parthenon. Sometimes the formal arrangement of windows and doors in 2 building, though pleasing in ils formality, may interfore with both efficiency and function, This the reason why conteraporary architecture fends to favor the informal or asymmetrical balance 2 Informal or asymmetrical balance. It is also sometimes called ‘cea balance. is mere difficult to achieve than formal balance; however, the results are more interesting. It is achieved when objects of unequal weights or unequal attractions are placed at the correct distances from the center as when a large object or an object with a suronger attraction is placed near the center, while the smaller object or one with less striking atirction is moved farther out from the center. Informal balance is generally used when we want to attract the attention of observers and set them thinking about the object under observation. “This form of balance is an active balance. It suggests spontaneity and movement, It also gives an impression of casualness Good balance produces an effect of stability and repose. To produce this fecling, horizontal balance isnot enough. Vertical balance is also important. The top of an arrangement should not be too heavy for its bortom. A top heavy arrangement always looks unstable The bottom ofa vase should always be wider than its top. The bonom margin shuld be wider hth sid tp margin Sul not be too wide though tereses the impresion of belag ou of proportion with the thing that is supposed to support. ml ce Any design of picture to be tuly artistic must therefore give a feeting of rest and stability. Shapes, colors, and achieved, shapes of equal sizes and weights are placed at equal distances from the center. When informal balance is used, the smaller objects are moved farther out from the centor while the larger objects are placed nearer the center. Balance above and below the center are also important in good balance. PROPORTIO’ Proportion is determined by a comparison ofthe sizes of diferent pants of an object or of an arrangement. A figurine isnot in itself big, but {itmay be too big for the pedestal it is standing on. The chairs in a room ‘maybe too big for that room or for the other pisces of furniture in the room, Harmonious proportion is achieved when one part of an object does fot scem too big er too small for the other parts. Objects which are “out ‘of proportion” are vot pleasing to ook st. ‘We find many designs in nature that have interesting proportions. “The normal human body proportion is an illustration of fe spacing. The “waistline is not found heavy halfway between the head and the soles of the feet. 1 is found well above the halfway mark. Interesting proportions are also found in other parts of the body like in the upper arm, over arm, land hand which are not of equal length. The head is not too big nor too small forthe rest of the body. In painting, the principle of good proportion is useful in combining colors successfully and in determining the margins of ‘mounting. Exactly equal margins at the top, sides, and bottom will ‘prodhice aa monotonous effect. Using exactly the same amount pf color ina combination will als produce a monotonous and uninteresting effect ‘To produce a more pleasing harmony there should be one more of color than the others. Avoid using equal amounts of two or more colors. Avoid also. great desl of one color and only a tiny bit of another. In sculpture, the comparative sizes of the different parts o the ‘object should be considered. The relation of the size of the statue and the background or surroundings is also important. A statue may be too big for its background or too small for its surroundings such that it may look out ‘of place. In interior decoration, proportion is obtained by considering the size ofthe furniture, the design ofthe wallpaper, the length ofthe eurtains, the size of the rug, and the size ofthe room. RHYTHM In Visual arts, chythm is achieved by the regular or harmonious recurrence of lines, forms, and colors. Rhytlim is organized movement, ‘eat, 2 repetition. Through the repetition of fines or forms, a patern is, produced, which the eye follows as it moves from the right wo the let. A series of units repeated one afler another also produce rhythmic movement. Through the use of color, charming pattems will be formed that ‘wil cary the eye from one part of a room to another. Repetition of color in different pars ofthe room, like red roses in a vase on atop of a table, spots of red inthe curtain, and throw pillows with ared designs, produces rhythmical effeet which isnot only charming but pleasing. The eye will ‘be drawn about the room from one red spot to another. Care must be taken though not to use equal amounts of red as this will contradict the principle ‘of proportion. Rhythmical pattems help the eye to move easily from one part of ‘the room to another or from one part of a design to another. Therefore rhythm belps to create harmony ina design or room. Iris used as the most effective way of ercating aesthetic unity of prose, music, dance, painting, architecture, and sculpture. In the space arts rhythm is used in repetition, altemation, and gradation of the elements of art, Tine, form, eelor, and tere. MPHASIS ___ Wheneverwe look at a room, some parts easily cach our attention and interest while other parts are not noticed at all. This quality of design is called emphasis or subordination. Emphasis is produced by the design cor Form that catches our attention while the res! are subordinated. The pater emphasized usually forins the ceater of interest Emphasis may be ‘defined as giving the proper importance tothe parts or fo the whole ‘A clever interior decorator always creates a centr of interest ina room. One part or design in the room is emphasized and the rest are ‘subordinated. You can just imagine the confusion you will experience if all the objects in a room are of the same size and have the same pattern ‘and color. Every detail will be as important as the other. Monotony is also likely to be experienced. Emphasis is important in all art forms. This is the most noticeable in the art of advertising. The aim of advertising is to cal attention to a particular product or object. It is therefore nevessary to emphasize one feature in an advertisement so tha it will stand out from the rest. Emphasis in the visual arts may be secured in several ways. Itmay be secured through size an position. The largest figure easily catches the interest of the viewer. It atractsatiention, therefore, it creates emphasis ‘A plain background emphasizes a decorative arrangemest placed against {it Objects which are planned to be the center of interest should be made 10 zppear closer to the viewer than the rest which are to be subordinated. Color is also used to create emphasis. Contrast of colors can be ‘used to produce a center of interest. A black object placed against a white ‘background will easily catch atiemion. A brighily colored accessory, like belt of brooch, used with dress of neutral color, caich more attention that when used with a dress of intense color. Intense colors are likely to ‘catch more atention that neutral ones. We should therefore take great care in using intense color sparingly as a background for objects we want 10 ‘emphasize Emphasis is important because it relieves monotony. It can also bbe used to call attention to pleasing centers of interest ‘THE ELEMENTS OF VISUAL EXPERIENCE, ‘When we talk of visuality, we ean consider a variety of ts aspects ‘orelements that make up art. Elements then can be the form, shape, color, Value, space, and texture, "The form of a work i its shape, including its volume or perceived volume. A three-dimensional artwork has depth as well as width ad height. Three-dimensional form is the basis of sculpture. Our very own, Napolcon Isabelo Veloso Abueva, Father of Modem Philippine Sculpture, produced works such as Kaganapan (1953). Kiss of Judas (0955), Thuy Piece of Silver, The Transfiguration atthe Etemal Gardens ‘Memorial Park (1979), UP Gateway (1967), Nine Muses at the UP Faculty Center (1994), and Sunburst at the ‘Peninsula Manila Hotel (1994). His Sandgo or Blood Compact Shrine in Bohol, Tagbiaran City is a landmark at the site of the first international treaty of friendship bberween Spaniards and Filipinos. Sandugo flood Conpact Shrine in Bohol by Napoleon Abucva ‘Complidy RMENTORRES Siricy fr Clenroem Parpse only Ps da st repredne whet Perninden

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