GE 6 ART APPRECIATION

Instructor: Ms. Devy Endrina

LESSON 4: ELEMENTS AND PRINCIPLES OF ART

Talking about art, we must know the importance of creativity and the joy of making
something new and different using our own hands. To be able to create and produce one great
artwork, what must be the most important things needed for an artist to be able to have a
creative artwork? What are the things needed for an artist to be able to produce a beautiful and
perfect song?

DISCUSSION

 ELEMENTS OF ARTS: VISUAL

The elements of art are the visual tools that the artist uses to create a composition.
These are line, shape, form, color, value, texture, and space.

A. LINE

Geometrically, it connects two points. A line is a path traced by a moving point, i.e. a
pencil point or a paintbrush. We see lines all around us; telephone wires, tree branches, jet
contrails and winding roads are just a few examples. Line is a vital element of any artwork.

Let’s look at how the different kinds of line are made.

• Actual lines are those that are physically present. Actual lines are real marks made in a
composition.
• Implied lines are those created by visually connecting two or more areas together.
• Straight or classic lines provide structure to a composition. They can be oriented to the
horizontal, vertical, or diagonal axis of a surface. Straight lines are by nature
visually stable, while still giving direction to a composition.

o Horizontal and Vertical Lines

- Horizontal Lines are normally
associated with rest or calm and
Vertical lines connote elevation or
height which is usually taken to
mean exaltation or aspiration for
action.

o Diagonal and crooked lines –

diagonal lines convey movement and
instability, although progression can
be seen.

o Crooked lines or jagged lines are

reminiscent of violence, conflict or
struggle.
 Expressive lines are curved, adding an organic,
more dynamic character to a work of art. Expressive lines
are often rounded and follow undetermined paths. 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.

B. SHAPE

A shape is defined as an enclosed area in two dimensions: height and width. Shapes are
always flat, but the combination of shapes, color, and other means can make shapes appear
threedimensional, as forms. Shapes can be created in many ways, the simplest by enclosing
an area with an outline.

Line and shape are two elements in art that are nearly always used together. Three lines are
used to create a triangle while four lines can make a square.

Two categories:

 Geometric – these shapes find origin in mathematical propositions. Geometric shapes

are the ones we can recognize and name: squares, triangles, circles, hexagons, etc.
a.

 Organic – organic shapes are those occurring in nature, often irregular and asymmetrical.
Organic shapes are those that are based on organic or living things or are more free
form:
the shape of a tree, face, monkey, cloud, etc.
b.

C. FORM

Form is sometimes used to describe a shape that has an implied third dimension; height, width,
depth.

In other words, an artist may try to make parts of a flat

image appear three-dimensional. Notice in the drawing how
the artist makes the different shapes appear three-
dimensional using shading. It’s a flat image but appears
three-dimensional. Form is used to make people,
animals, trees, or anything appear three-dimensional.
D. COLOR

Perhaps color is one of the elements of arts that enhance the appeal of an artwork. Its
effect has range, allowing the viewer to make responses based on memory, emotion, and instinct
among others. It gives meaning, value, intensity, and saturation to an object. It has a series of
wave length which strikes our retina.

The color wheel corresponds

to the first property of color, HUE.

1. HUE – this dimension of color

gives its name. It can be
subdivided into:

a. Primary Colors
 RED
b.  YELLOW Secondary Colors
 BLUE  Yellow + Red =
ORANGE
• Red + Blue = VIOLET
• Blue + Yellow = GREEN

c. Tertiary Colors - is the result of

one Primary Color mixed with one
of its nearest Secondary Colors

Yellow + Orange =
YELLOW/ORANGE
Red + Orange = RED/ORANGE
Red + Purple = RED/PURPLE
Blue + Purple = BLUE/PURPLE
Blue + Green = BLUE/GREEN
Yellow + Green = YELLOW/GREEN

Different Meanings of Colors

• – death, despair, groom, sorrow
• – infinity, freedom, calmness
– humility
• – nature, freshness, hope and money
– sweetness, cheerfulness
• – femininity, love
• – bravery, energy, passion, war, warm
– royalty, dull
– purity, clarity, simplicity, virginity, peace
– joyful, vibrant, life, sunshine, happiness

2. VALUE

This refers to the brightness or darkness of color. Often, this is used by artists to create the
illusion of depth and solidity, a particular mood, communicate a feeling, or establishing a scene.
• Light colors – taken as the source of light in the composition  Dark colors – the lack or
even absence of light According to the range of values:
• Tint – this is a lighter color than the normal value
• Shade – this is a darker than the normal value
3. INTENSITY
This is the color’s brightness or dullness. It is defined as the strength of color, whether it is vivid or
muted. To achieve a specific intensity of a color, one may add either gray or its complementary
color.
• Bright or warm colors – positive energy
• Dull or cool colors – sedate/soothing, seriousness, or calm.

E. VALUE and CONTRAST

Value (or tone) is the relative lightness or darkness of a shape in relation to another. The
value scale, bounded on one end by pure white and on the other by black, and in between a
series of progressively darker shades of grey, gives an artist the tools to make these
transformations. The value scale below shows the standard variations in tones. Values near the
lighter end of the spectrum are termed high-keyed, those on the darker end are low-keyed.

In two dimensions, the use of value gives a shape the illusion of form or mass and lends an
entire composition a sense of light and shadow. The two examples below show the effect value
has on changing a shape to a form.

F. TEXTURE

Texture is an element of art that refers to the way an object feels to the touch or looks as it may
feel.

At the most basic level, Three-dimensional works

of art (sculpture, pottery, textiles, metalwork, etc.) and
architecture have actual texture which is often
determined by the material that was used to create it:
wood, stone, bronze, clay, etc. Two-dimensional
works of art like paintings, drawings, and prints may try
to show implied texture using lines, colors, or
other ways. When a painting has a lot of actual
texture from the application of thick paint, we call that
impasto.

It can be either real or implied. This element in an artwork is experienced through sense of
touch (and sight). This element renders the art object tactile.
G. SPACE

It is usually inferred from a sense of depth, whether it is real or simulated.

Real space is three dimensional.

a. Positive and Negative Space – usually identified with the white space is
the negative space while the positive space where the shadow is
heavily used.
 b.Three dimensional space – can be simulated through a variety of
techniques such as shading.

 ELEMENTS OF ART: AUDITORY

These new ideas will be introduced gradually, systematically, and actively, so for now,
focus on learning the fundamental elements of music and their related terms Listen carefully for
these aspects in the music you hear, and—in time—you will attain a heightened understanding
that will open your ears, mind and soul to the deeper levels of musical thought.

Music – consists of sounds and silences in such a manner as to convey emotions and feelings of
the composer.
ELEMENT Basic Related Terms

A. Rhythm (beat, meter, tempo, syncopation)

B. Dynamics (forte, piano, [etc.], crescendo, decrescendo)

C. Melody (pitch, theme, conjunct, disjunct)

D. Harmony (chord, progression, consonance, dissonance, key, tonality,

atonality)

E. Tone color (register, range, instrumentation)

F. Texture (monophonic, homophonic, polyphonic, imitation, counterpoint)

G. Form (binary, ternary, strophic, through composed)

A. RHYTHM

Rhythm is the element of "TIME" in music. When you tap your foot to the music, you are
"keeping the beat" or following the structural rhythmic pulse of the music. There are several
important aspects of rhythm:

• DURATION: how long a sound (or silence) lasts.

• TEMPO: the speed of the BEAT.
(Note: Tempo indications are often designated by Italian terms):
Largo = "large" or labored (slow)
 Adagio = slow
Andante = steady "walking" tempo
Moderato = moderate
Allegro = fast ("happy")
Presto = very fast

• METER: Beats organized into recognizable/recurring accent patterns. Meter can be

seen/felt through the standard patterns used by conductors.

Other basic terms relating to Rhythm are:

• Syncopation: an "off-the-beat" accent (between the counted numbers)

• Ritardando: gradually SLOWING DOWN the tempo
• Accelerando: gradually SPEEDING UP the tempo
• Rubato: freely and expressively making subtle changes in the tempo. (a technique
commonly encountered in music of the Romantic era)

B. DYNAMICS

All musical aspects relating to the relative loudness (or quietness) of music fall under the
general element of DYNAMICS. The terms used to describe dynamic levels are often in Italian:

pianissimo [pp] = (very quiet)

piano [p] = (quiet)
mezzo-piano [mp] = (moderately quiet) mezzo-
forte [mf] = (moderately loud)
forte [f] = (loud)
fortissimo [ff] = (very loud

Other basic terms relating to Dynamics are:

 Crescendo: gradually getting LOUDER
 Diminuendo (or decrescendo): gradually getting
 QUIETER Accent: "punching" or "leaning into" a note harder to temporarily
emphasize it.
C. MELODY

Melody is the LINEAR/HORIZONTAL presentation of pitch (the word used to describe the
highness or lowness of a musical sound). Many famous musical compositions have a memorable
melody or theme.

Melodies can be derived from various scales (families of pitches) such as the traditional
major and minor scales of tonal music, to more unusual ones such as the old church modes (of
the Medieval and Renaissance periods: c. 500–1600), the chromatic scale and the whole tone
scale (both used in popular and art-music styles of the late 19th and 20th-century periods), or
unique scale systems devised in other cultures around the world. Melodies can be described as:

• CONJUNCT (smooth; easy to sing or play)

• DISJUNCT (disjointedly ragged or jumpy; difficult to sing or play).

D. HARMONY

Harmony is the VERTICALIZATION of pitch. Often, harmony is thought of as the art of

combining pitches into chords (several notes played simultaneously as a "block"). These chords
are usually arranged into sentence-like patterns called chord progressions.

Harmony is often described in terms of its relative HARSHNESS:

 DISSONANCE: a harsh-sounding harmonic combination
• CONSONANCE: a smooth-sounding harmonic combination

Dissonant chords produce musical "tension" which is often "released" by resolving to consonant
chords. Since we all have different opinions about consonance and dissonance, these terms are
somewhat subjective.

Other basic terms relating to Harmony are:

• Modality: harmony created out of the ancient Medieval/Renaissance modes.
• Tonality: harmony that focuses on a "home" key center.
• Atonality: modern harmony that AVOIDS any sense of a "home" key center.
E. TONE COLOR (or TIMBRE -pronounced "TAM-BER")

If you play a "C" on the piano and then sing that "C", you and the piano have obviously
produced the same pitch; however, your voice has a different sound quality than the piano.
Although the scientific principles of musical acoustics are beyond the scope of this course, it is
safe to say that each musical instrument or voice produces its own characteristic pattern of
“overtones,” which gives it a unique "tone color" or timbre. Composers use timbre much like
painters use colors to evoke certain effects on a canvas.
For example, the upper register (portion of the range or compass) of a clarinet produces
tones that are brilliant and piercing, while its lower register gives a rich and dark timbre. A
variety of timbres can also be created by combining instruments and/or voices.
D. TEXTURE

Texture refers to the number of individual musical lines (melodies) and the relationship these
lines have to one another.
NOTE: Be careful not to confuse the number of musical lines with the number of
performers producing the musical lines.
Monophonic (single note) texture:
Music with only one note sounding at a time (having no harmony or accompaniment).

Homophonic texture: Music with two or more notes sounding at a the same time, but
generally featuring a prominent melody in the upper part, supported by a less intricate harmonic
accompaniment underneath (often based on homogenous chords—BLOCKS of sound).

Polyphonic texture: Music with two or more independent melodies sounding at the same
time. The most intricate types of polyphonic texture— canon and fugue—may introduce three,
four, five or more independent melodies simultaneously! This manner of writing is called
COUNTERPOINT.

Vocal Classes
a. Soprano – highest register voice for female
b. Mezzo Soprano – medium register voice for female
c. Alto – lowest register voice for female
d. Tenor – highest register voice for male
e. Baritone – medium register voice for male
f. Bass – lowest register voice for male
Functions of Music

1. Religious and ceremonial purpose

2. Release the tenses and emotions
3. To listen to music intelligently
4. Therapeutic value
5. For entertainment
6. Experience reflect music
7. Learning is made easy with music
ELEMENTS OF DANCE

1. Choreography- creation of steps with music and movement with a rhythm of music.
2. Costumes- the styles of dress that a dancer wears.
3. Dancer- the person who performs the movement.
4. Decoration- it pertains to props, design, and accessories.
5. Movement- the action of the dancer as they move to create various and communicate with
audience.
6. Music- the mood and plan based on the music.
7. Technique- control of the muscles over the body.
8. Theme- the main content of the dance.
Types of Dances
1. Folk dance- it pertains to traditional dance.
2. Social Dance- it is a kind of dance that we perform in small gatherings.
3. Modern dance- based on the natural expressive movements by which the dancer expresses a
wide range of emotions.
4. Ethnic dance- used to perform their rituals.
5. Indian dance- highly exaggerated facial expression and extensive vocabulary of hand
gestures.
6. Ballet- a stage entertainment which enacts a story which expresses dramatic ideas through
dance or theatrical storytelling. It is combined with music, drama, poetry, song, costume, and
dance.
7. Court dance-a street dance.

PRINCIPLES OF ART

1. Balance- it refers to the distribution of the visual elements in view of their placement in
relation to each other.
There are 3 forms of balance:
a. Symmetrical- the elements used on one side are reflected to the other. It
also offers the most stable visual sense to any network.

b. Asymmetrical- the elements are not the same (or of the same weight) on
each side, putting the heaviness on one side.

c. Radial- there is a central point in the composition around which elements

and objects are distributed.
2. Scale and Proportion
• Scale pertains to the size in relation to what is normal for the figure or object in question.

Sculptures of exaggerate scale are very common all over the world as many artists are
taken by the whimsical quality of these objects. Upon seeing different artwork with
exaggerate scale, one cannot help but smile.

• Proportion is the size of the components, or of the objects in relation to one another
when taken as a composition or a unit. It is also can be values such as amounts or number
of elements or objects in the composition.
Proportion can be:

a. Natural- it relates to the realistic side of the visual elements in the artwork,
specifically for figurative artworks. We can call it the principle scale when it is accurate
in relation to the real world that the artist is after.

b. Exaggerated- it refers to the relations of the unusual size of visual elements,

deliberately exaggerating the immensity or minuteness of an object. Thus, there are no
notions in scale that differentiate when an element is smaller than what is expected
(diminutive), and when something appears to be larger than what is presumed
(monumental).