GE 1- ART APPRECIATION

MODULE 5 & 6: ELEMENTS AND PRINCIPLES OF ART

LEARNING OUTCOMES

• Identify the elements and principles of arts,

• Analyze the various present in visual, auditory and combined arts,
• Create an art work depicting the various elements and principles of design,
• Give the significance of elements and principles of arts in real life application.

INTRODUCTION

Whether an artist creates two-dimensional or three-dimensional art, works in a

traditional medium like painting, or makes art using the latest technology, all artists use the
same basic visual building blocks of form (elements) and strategies of visual organization
(principles) to achieve visual unity. In this section you will learn about the differences
between form and content and be introduced to the basic elements and principles of design.
You’ll also learn about types of representation in art. All of these concepts are integral to
formalism, which is a method of studying artwork by analyzing and describing it in purely in
terms of visual effects.
VISUAL ART
Seven (7) integral components in the creation of a visual design:

1. Point
A point is the visual element upon which all others are based. It can be defined as a
singularity in space or, in geometric terms, the area where two coordinates meet. The point
itself can be used as a way to create forms.
For example; Pointillism is a style of painting made famous
by
the French artist Georges Seurat in the late nineteenth
century.
He and others in the Pointillist group created paintings by
juxtaposing points—or dots—of color that optically mixed to
form
lines, shapes and forms within a composition.
Study for "A Sunday on La Grande Jatte"
2. Lines Georges Seurat (French, Paris 1859–1891
Paris)
A lines is an identifiable path created by a point moving in space. It is one-
dimensional and can vary in width, direction, and length. Lines often define the edges
of a form. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or
thin.

 Straight or classic lines provide structure to a

composition. They can be oriented to the horizontal,

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vertical, or diagonal axis of a surface. Straight lines are by nature visually stable, while
still giving direction to a composition.

 Expressive lines are curved, adding an organic, more dynamic

character to a work of art. Expressive lines are often rounded and
follow undetermined paths. Indeed, the sculpture seems to be
made up of nothing but expressive lines, shapes and forms.

 There are other kinds of line that encompass the characteristics of those above yet,
taken together, help create additional artistic elements and richer, more varied
compositions. Refer to the images and examples below to become familiar with these
types of line.

a. Outline, or contour line is the simplest of these. They create a path

around the edge of a shape. In fact, outlines define shapes.

b. Cross contour lines follow paths across a shape to delineate

differences in surface features. They give flat shapes a sense of form
(the illusion of three dimensions), and can also be used to create
shading.

c. Hatch lines are repeated at short intervals in generally one direction.

They give shading and visual texture to the surface of an object.

d. Crosshatch lines provide additional tone and texture. They can be

oriented in any direction. Multiple layers of crosshatch lines can give rich and
varied shading to objects by manipulating the pressure of the drawing tool to
create a large range of values.

Other examples

• Vertical- Represents dignity, formality, stability and

strength.
• Horizontal- Represents calm, peace and relaxation

• Diagonal- Represents action, activity, excitement and

movement.

• Curved- Represents freedom, the natural, having the appearance

of softness and creates a soothing feeling or mood.

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3. Color
Color is the most complex artistic element because of the combinations and variations
inherent in its use. Humans respond to color combinations differently, and artists study and
use color in part to give desired direction to their work.

The study of color in art and design often starts with color theory. Color theory splits up
colors into three categories: primary, secondary, and tertiary.

 The primary colors are red, blue, and yellow.

 The secondary colors are orange (mix

of red and yellow), green (mix of blue
and yellow), and violet (mix of blue and
red).

 The tertiary colors are obtained by

mixing one primary color and one
secondary color. Depending on amount
of color used, different hues can be
obtained such as red-orange or yellow-
green. Neutral colors (browns and
grays) can be mixed using the three
primary colors together.

Color Mixing
A more quantifiable approach to color theory is to think about color as the result of
light reflecting off a surface. Understood in this way, color can be represented as a ratio of
amounts of primary color mixed together.
 Additive color theory is used when different colored lights are being
projected on top of each other. Common applications of additive color
theory are theater lighting and television screens.

 Subtractive color theory (“process color”) is used when a single light

source is being reflected by different colors laid one on top of the other.
Color is produced when parts of the external light source’s spectrum are
absorbed by the material and not reflected back to the viewer’s eye.

For example, Subtractive color works as the reverse of additive color

theory. Common applications of subtractive color theory are used in the Subtractive Color

visual arts, color printing and processing photographic positives and negatives.

Color Attributes
There are many attributes to color. Each one has an effect on how we perceive it.
• Hue - refers to color itself, but also to the variations of a color.
• Value - refers to the relative lightness or darkness of one color next to another.
The value of a color can make a difference in how it is perceived.

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• Tone refers to the gradation or subtle changes made to a color when it’s mixed
with a gray created by adding two complements (see Complementary Color
below).
• Saturation refers to the purity and intensity of a color.
Color Interactions
Beyond creating a mixing hierarchy, color theory also provides tools for understanding how
colors work together.

 Monochrome Color
Monochrome is the simplest color. This is the use of variations of a single hue. The advantage
of using a monochromatic color scheme is that you get a high level of unity throughout the
artwork because all the tones relate to one another

 Analogos Colors
Analogous colors are similar to one another. As their name
implies, analogous colors can be found next to one another on
any 12-part color wheel:

4. Form/Shape
Shapes: Positive, Negative and Planar Issues

A shape - is created when a line is enclosed. Shape is one

of the principles of art that serves as a building block for
representing every variety of subject matter through
painting, sculpture, and architecture .Shape can also be
defined as a two-dimensional area that is defined by a
change in value or some other form of contrast.

Positive / Negative Shapes and Figure / Ground

Relationships

Shapes animate figure-ground relationships. We visually determine

positive shapes (the figure) and negative shapes (the ground). One way
to understand this is to open your hand and spread your fingers apart.
Your hand is the positive shape, and the space around it becomes the
negative shape.
For example, in the painting below by John Singer Sargent, the
female figure and table are positive shapes. The background and floor are
negative shapes.

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Shape Plane
A plane Shape are two-dimensional and have only
breadth and width. Examples of plane shapes are
squares, rectangles, circles, triangles and ovals. They are
also called flat shapes or plane geometric figures. Solid
shapes are three-dimensional and have breadth, width,
thickness, or depth.

5. Space
A Space in a work of art refers to a feeling of depth or three dimensions. It can also
refer to the artist's use of the area within the picture plane. The area around the primary
objects in a work of art is known as negative space, while the space occupied by the
primary objects is known as positive space.
There are many ways for the artist to present ideas of space. Remember that many
cultures traditionally use pictorial space as a window to view realistic subject matter through,
and through the subject matter they present ideas, narratives and symbolic content.The
innovation of linear perspective, an implied geometric pictorial construct dating from
fifteenth-century Europe, affords us the accurate illusion of three-dimensional space on a flat
surface, and appears to recede into the distance through the use of a horizon line and
vanishing points. See how perspective is set up in the schematic examples below:

One-point perspective occurs when the receding

lines appear to converge at a single point on the
horizon and used when the flat front of an object is
facing the viewer. Note: Perspective can be used to
show the relative size and recession into space of any
object, but is most effective with hard-edged three-
dimensional objects such as buildings.

A classic Renaissance artwork using one point

perspective is Leonardo da Vinci’s The Last
Supper from 1498. Da Vinci composes the work by
locating the vanishing point directly behind the
head of Christ, thus drawing the viewer’s
attention to the center. His arms mirror the
receding wall lines, and, if we follow them as lines,
would converge at the same vanishing point.

Leonardo da Vinci, The Last Supper, 1498.Fresco. Santa

Maria
della Grazie. Work is in the public domain

Two-point perspective occurs when the vertical edge

of a cube is facing the viewer, exposing two sides that
recede into the distance, one to each vanishing point.

Three-point
perspective is used when an artist wants to project a “bird’s-

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eye view”, that is, when the projection lines recede to two points on the horizon and a third
either far above or below the horizon line. In this case the parallel lines that make up the
sides of an object are not parallel to the edge of the ground the artist is working on (paper,
canvas, etc).

The use of high contrast, placing lighter areas of value against

much darker ones, creates a dramatic effect, while low
contrast gives more subtle results. These differences in effect
are evident in ‘Guiditta and Oloferne’ by the Italian painter
Caravaggio, and Robert Adams’ photograph Untitled, Denver
from 1970-74. Caravaggio uses a high contrast palette to an
already dramatic scene to increase the visual tension for the
viewer, while Adams deliberately makes use of low contrast to
Caravaggio, Guiditta Decapitates Oloferne,
underscore the drabness of the landscape surrounding the figure on the bicycle.
1598, oilon canvas. National Gallery of
Italian Art, Rome. This work is in the public
domain

6. Texture
The surface look or feel of an object.
• Smooth surface
• Reflects more light and, therefore, is a more intense color.
• Rough surface
• Absorbs more light, appears darker.

7. Value
The relative lightness or darkness of a color.
• Shade
• Degree of darkness of a color
• Tint - A pale or faint variation of a color

AUDITORY ARTS
Music

A Music is composed of tones and silences organized in such a manner to convey the
emotions and ideas conceived by the composer.
Function of Music
1. An attempt to imitate the natural sound
2. Release of ones emotions or feelings (therapeutic)
3. As signals in wars
4. Means of worship and vehicles of rituals
5. Used to accompany dance
6. A form of entertainment in community celebrations
7. Symbols of life cycles

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a. Pitch
 Pitch is an aspect of a sound that we can hear, reflecting whether one musical sound,
note or tone is “higher” or “lower” that another musical sound, note or tone.

b. Melodies
 A melody (also called a “tune) is a series of pitches (notes) sounding in succession ( one
after the other), often in a rising and falling pattern.

c. Harmony
 Harmony refers to the “vertical” sounds of pitches in music, which means pitches that are
played or sung together at the same time to create a chord.

d. Form
 Form describes how the overall structure or plan of a song or piece of music, and it
describes the layout of composition as divided into sections.
e. Tone Color
 Timbre, sometimes called “color” or “tone” is the quality or sound of a voice or instrument.
Timbre is what makes a particular musical sound different from another, even when they
have the same pitch and loudness,

f. Texture
 Musical texture is the overall sound of a piece of music or song. The texture of a piece or
sing is determined by how the melodic, rhythmic, and harmonic materials are combined in a
composition, thus determining the overall nature of the sound in a piece.

COMBINED ARTS

The combined arts can be refer to events that combine variety of media or materials
which can be both seen and heard or materials which can be both seen and heard, and which
exist in both space and time (Ortiz 40) . Combined arts can mean several different things. It
can refer to a collection of different art mediums, such as painting, singing and musical
performance. It can also refer to organizations that work over multiple platforms and venues
to promote artistic endeavors.

a. Performance
 It requires human beings to demonstrate certain skills.

b. Theater
 As a combined arts may put together literature or drama, music, actors on stage where
scenery, props and lighting are arranged, plus other media to complete a production.

c. Music
 May include sound, spectacular impression and video.

d. Cinema
 May creatively integrate elements of photography, video, film, music and literature and
other materials in its production.

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Principles of Understanding Artistic Design and Composition

Art principles are created by combining art elements. Artists utilize organizing
principles to develop forms that inform. Among the fundamental principle of art are balance,
repetition, rhythm, pattern, emphasis, proportion and scale, unity and variety, movement and
harmony . Whether analyzing or composing artwork, one must have a complete
understanding of how art principles are created (Elsen, 1981).

1. Balance
 Parts of the design are equally distributed to create a sense of stability. There can
be physical as well as visual balance.
 It refers to the appropriate arrangement of objects in a design to create the
impression of equality in weight or importance. Balance provides stability and
structure to a design. Balance may be symmetrical and asymmetrical, but the
goal should be to achieve equilibrium.

Visual Balance - All works of art possess some form of visual balance – a sense of weighted
clarity created in a composition. The artist arranges balance to set the dynamics of a
composition. A really good example is in the work of Piet Mondrian, whose revolutionary
paintings of the early twentieth century used non-objective balance instead of realistic
subject matter to generate the visual power in his work. In the examples below you can see
that where the white rectangle is placed makes a big difference in how the entire picture
plane is activated.

There are three basic forms of visual balance:

a. Symmetrical balance - is the most visually stable, and characterized

by an exact—or nearly exact—compositional design on either (or both)
sides of the horizontal or vertical axis of the picture plane. This can be
described as having equal “weight” on equal sides of a centrally placed
fulcrum. It is also known as formal balance. Symmetrical compositions
Moon Jellyfish,
are usually dominated by a central anchoring element. The Moon Jellyfish (detail).Digital image by
fits this description; ghostly lit against a black background, but absolute Luc Viator, licensed by
Creative Commons
symmetry in its design.
b. Asymmetrical balance- is more complex and difficult top envisage. It involves placement
of objects in a way that will allow objects of varying visual weight to balance one another
around a fulcrum point. It is also known as informal balance.

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 In Henry Moore’s Reclining Figure the organic form of the abstracted figure, strong
lighting and precarious balance obtained through asymmetry make the sculpture a
powerful
example.

C. Radial balance- suggests movement from the center of a

composition towards the outer edge—or vise versa. Many times
radial balance is another form of symmetry, offering stability
and a point of focus at the center of the composition. In this
example there are six of these figures forming a star shape in
the middle. Here we have absolute symmetry in the Central
composition, yet a feeling of movement is Tibet (Ngor
Monestary).

2. Repetition
Repetition is the use of two or more like elements or forms within a composition. The
systematic arrangement of a repeated shapes or forms creates.
 The traditional art of Australian aboriginal culture uses
repetition and pattern almost exclusively both as
decoration and to give symbolic meaning to images. The
coolamon, or carrying vessel pictured below, is made of
tree bark and painted with stylized patterns of colored dots
indicating paths, landscapes or animals.
Australian aboriginal softwood coolamon
with acrylic paint design. Licensed under
Creative
3. Rhythm or movement, it is created when one or more elements of design are used
repeatedly to create a feeling of organized movement.
 Rhythm creates a mood like music or dancing. It is regarded as a
visual temp or beat.
 It can be directed for example, along edges & by means of
shape and colour. Rhythm can be categorized Random, Regular,
Alternating, Progressive, and Flowing
4. Pattern

The repeating of an object or symbol all over the work of art. Pattern in
a design simply refers to keeping your design in a certain format. It is
often described as a regular arrangement of alternated or repeated
elements (shapes, lines, colors) or motifs. For example: One could plan
to have curved lines all around a design as a pattern.

5. Emphasis

Emphasis is the most personal aspect of a design. The feature that

attracts viewers. It can be achieved through size, placement, color and
use of lines.
 It is the area of primary visual importance—can be attained in a
number of ways. We’ve just seen how it can be a function of
differences in scale.

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 We can clearly determine the figure in the white shirt as the main emphasis in
Francisco de Goya’s painting The Third of May,The genius of Goya is his ability to direct
the narrative content by the emphasis he places in his composition.
6. Proportion and Scale
Proportion is the feeling of unity created when all parts (sizes, amounts, or number)
relate well with each other. When drawing the human figure, proportion can refer to the
size of the head compared to the rest of the body.
Scale and proportion show the relative size of one form in relation
to another. Scalar relationships are often used to create illusions of
depth on a two-dimensional surface, the larger form being in front
of the smaller one.
A good example of this is Michelangelo’s sculptural masterpiece
Pieta from 1499 . Here Mary cradles her dead son, the two figures
forming a stable triangular composition. Michelangelo sculpts Mary
to a slightly larger scale than the dead Christ to give the central figure more
significance, both visually and psychologically.
7. Movement
A Movement is the path the viewer‘s eye takes through the work
of art, often to focal areas. Such movement can be directed along
lines, edges, shape, and color within the work of art.

8. Harmony and Unity

Harmony is a bit vague compared to some of the other principles. Generally
speaking, it refers to how well all the visual elements work together in a work of
art, which creates a sense of completed.

 Elements which are in harmony should have some kind of logical

progression or relationship. If there is an element which is not in harmony
with the rest of an artwork, it should stick-out and be jarring to look at. Kind of like an
off-note in a song.

Unity refers to some kind of connection between all the visual elements in a
work of art. Like harmony, this is a bit of a vague term which is difficult to
objectively use to analyze art.

9. Contrast
Contrast is everything in art. Contrast can come in many forms. Contrast
is one of the main principles of art defined by art historians and critics. It
is a strategy used by an artist to break up a work of art, and alter or even
shatter its unity by inserting variation. In many ways, contrast is the
opposite of the element of unity, in that it commands the viewer's
attention by sheer force of its differences.

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10. Variety
It is the use of several elements of design to hold the viewer‘s attention and to guide
the viewer‘s eye through and around the work of art.

The RULE OF THIRDS IN ART

The rule of thirds is a guideline for both artists and photographers. It is a type of composition
in which an image is divided evenly into thirds, both horizontally and vertically, and the
subject of the image is placed at the intersection of those dividing lines, or along one of the
lines itself.

 Composition is one of the most important things you need to plan in your painting
whether you are painting landscapes, still life, or painting the figure and portrait. It
determines the success or failure of your painting.
 The rule of thirds relates to another principle called the
“Golden Ratio”. This is a mathematical relationship of
proportion that is often found in nature. This ratio has been
used by artists and architects throughout the centuries,
including the designers of the Parthenon in Athens,
Salvador Dali, Le Corbusier, and Leonardo da Vinci.
 The Golden Ratio, visualized above, is a ratio in which a + b is to a as a is to b. This
ratio can be simplified into a rectangle, which is referred to as “The Golden Rectangle”.
 You’ll notice that when this ratio is applied to a rectangle, the line that divides section
a and b is very close to 1/3 of the rectangular space.
The Rule of Thirds is a simplified version of the Golden Ratio. A ratio of
1/3 is very close to the same proportion that we would use with the
Golden Ratio.

Using the Rule of Thirds

The Rule of Thirds is best understood by analyzing a blank

surface. This could be a sheet of drawing paper or your canvas.
Basically, we’re considering the picture plane. We can divide the
picture plane into segments using vertical and horizontal lines.
Each imaginary line falls on the edge of one of the thirds.
 Placing important elements on any of these lines often
leads to a more successful composition. For example, you may choose to
place the horizon line in a landscape on either the upper horizontal line or
the lower horizontal line.But we can take this even
further.
 You’ll notice that the horizontal and vertical lines
intersect. These locations of intersection are excellent
places to position important elements within your
composition. For example, you may place the focal

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point(s) on one of these intersecting points in order to create a more

successful composition.

Applying This Concept to Potential Photo References

Before we look some examples of how artists have used The Rule of Thirds in their
art, let’s examine a few practical examples. We can imagine that these examples are
potential references we may use for a drawing or a painting. Let’s see if we can improve the
composition using The Rule of Thirds.

Example 1 – Landscape
In our first example, we’ll take a look at a landscape. The
composition of the unedited photo (below) is quite strong without
any adjustments.

 The lighthouse, which is clearly the focal point, is positioned

close to the center of the picture plane. The pathway leads
our eyes to this location.
Let’s try to improve it.
 Using The Rule of Thirds, we’ll crop the image and place a grid
over the top.
As you can see, we’ve now placed the lighthouse along the
right vertical line. The base of the lighthouse is now
positioned on one of the intersection points and the horizon
line is in alignment with the lower horizontal line.

 But, there is a clear problem with this composition. It feels very heavy at the bottom.
By moving the line where the land meets the water down, the sky is emphasized. In
this image, the sky is rather bland and lacking visual interest. This is why this
composition feels visually heavy at the bottom of the picture plane.

Again we’ll crop the image using The Rule of Thirds. But this time, we’ll consider the visual
weight of both the sky (light) and the ground (heavy). To balance the visual weight of these
elements, we’ll include more of the ground and less of the sky.

 When we lay a grid over this composition, we can see that the lighthouse is in
alignment with the right vertical line and meets the ground at one of the intersection
points. We also see that the horizon line is alignment with the top horizontal line.

 The mound of rocks in the foreground also plays an important role in the composition.
We can see that the rocks are now in alignment with another intersection point. As an

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added bonus, we’ve included the path, which acts as a guiding line, leading us to the
focal point (the lighthouse).

We can learn two things from this first example. First, The Rule of Thirds can improve your
compositions. Secondly, we must consider other compositional aspects in order for it to work.

Example 2 – Portrait
The Rule of Thirds works for any subject. In fact, the subject is
mostly irrelevant to this compositional theory. Let’s look at
applying The Rule of Thirds to a portrait. Again, we’ll consider
this photo as a potential subject for a drawing or painting.

Here’s the original photo…

As you can see, the subject is placed directly in the center of the
picture plane. The elements in the background are asymmetrical, but balanced. But since
there is so much happening in the background, the subject (the young lady) is somewhat lost.

This composition using The Rule of Thirds. Again, we’ll crop the
photo and lay a grid over the top.

We’ve cropped the image down and by doing so, moved the
subject so that she is in alignment with the vertical line on the
right. On top of this, we’ve positioned her so that her eye (a
natural focal point) lies on one of the intersection points.
In this case, we’ve improved the composition using The Rule of
Thirds. But, there are cases where The Rule of Thirds may not be the best option for your
compositions.
Exceptions to the Rule
Just like everything else in art, there are exceptions to every rule. While this
compositional theory works most of the time, there are circumstances where it may weaken a
composition.
Examples of Artworks That Use The Rule of Thirds

Artists throughout history have clearly recognized the importance of aesthetically

successful compositions. There are countless examples of works that have implored the use
of The Rule of Thirds. Let’s take a look at few of them…

a. In this work by Albert Bredow, we see that he has

positioned the main focal point using the intersection point in
the lower left corner. The horizon line is also in alignment with
the lower horizontal line.

b. In this painting by John Singer Sargent, we can see

that he has utilized The Rule of Thirds to position both of the
main focal points within the scene. The crashed air plane

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has been placed on the intersection point in the upper right portion of the picture plane. The
figures in the foreground are positioned on the intersection point in the lower left portion of
the picture plane.

c. In this self portrait by Cézanne, we see that he has positioned the eyes in alignment
with the top horizontal line and the bulk of the figure is in alignment with the left vertical
line.

Remember…

The Rule of Thirds is an excellent way to improve your art compositions. But keep in
mind, we still need to consider other compositional strategies in order to create a successful
composition. We should be careful that we don’t become too reliant on just one or two
strategies when it comes to designing our artworks. Thumbnail or preliminary sketches will
always be your best friend.

Topic: ELEMENTS AND PRINCIPLES OF ART

Week- 5 & 6

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Name:_____________________________________ Date:_____________________
Address:___________________________________ Section:___________________

Activity 1:
Direction: Answer the following questions based on your understanding.

Rubrics:
4 Complete understanding of the problem, thorough and concise
explanation
3 Basic understanding of the problem, understandable explanation.
2 Limited understanding of the problem, unclear explanation.
1 Response does not fit the given problem, totally incorrect explanation.

1. Give the significance of visual, auditory and combined design in creating arts.

2. How principles of visual design will make the art effective and attractive?

3. Why “The Rule of Thirds” is important in some artist and photographers?

Activity 2: Crossword Puzzle

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