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Mr. Anthony B. Santos

VISUAL ELEMENTS
OF ART
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LINE AS AN ELEMENT OF ART

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●We see lines everywhere; along the
streets, inside our homes, in all of
nature, and in the many

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infrastructures that make our cities.
Lines add to the quality of all visual
stimuli.

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●Line make objects stand out against
a background, they challenge our
perception, arouse emotions, and

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enhance or lessen the aesthetic
effects of our surroundings.
●According to Paul Klee, “A line is a
dot that went for a walk.” In
discussions of art elements, a line is TOPIC F
usually described as an extension of
a dot.
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●Line serves as an important building

block of art and can be manipulated
to stimulate an intellectual or
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emotional response from the viewer.

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Different Lines

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Straight Lines.

They are more technically described as rectilinear

lines. They are geometric, hard, and impersonal.

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Straight lines differ in the directions they take.

Horizontal Lines.

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Some straight lines may move from left to right or
vice versa. They are called horizontal lines.
Horizontals in artworks usually indicate calmness

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and rest. Landscapes and seascapes are primarily
horizontals. Here the eye in the visual field follow a
right to left to right movement when viewing
artworks depicted in horizontals.
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Vertical Lines.
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They start from the bottom going up or vice versa.

Verticals show strength, balance, and stability.
Monuments of a country’s heroes are usually
depicted as verticals.
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Diagonal Lines.

They have both positive and negative implications.

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On the positive implications. Diagonals indicate
movement or action as may be seen in the
posture of a runner or a horse in full run. On the

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adverse side, diagonals may indicate stress,
frustration or defeat as may be seen from the
posture of athletes when victory is lost or the
posture of soldiers when defeated in battle.

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Zigzag Lines.

They result when two straight lines meet to form

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an angle. Zigzags indicate chaos, conflict, and
confusion as can be perceived in pictures of war
and pictures of most anime characters (the

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hairstyles are a giveaway).
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Actual Lines and Implied
Lines

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In art, there are also actual lines and
implied lines.
For actual lines, the artist
intentionally shows the lines in an

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artwork, a painting for instance, to
give the viewer an interesting
aspect of the composition. The lines

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drawn add to the quality of the
whole work.
Implied lines, however, are
used by the artist to make

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viewer feel their involvement in
interpreting the composition by
seeing and connecting lines where

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none actually exists.
These lines seem to fade, stop, and
or disappear and then reappear as
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a continuation or extension of an
edge. Lines that are not there may
suggest movement and will add
fluidity to the work.
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Line Quality and Characteristics

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Line qualities can be described in terms of
emotional states that they seem to arouse. In a

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work of art, however, such states of feelings
lack clarity. The artist may communicate these
feelings in varying degrees but it is still up to
the viewer to recognize these emotions. The

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viewer of the art must be receptive and
perceptive to those feelings that the artist
through the different lines is trying to convey.

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● Lines project different effects depending on
their quality and characteristics:

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● Line may be short or long, thick or thin,
angular or curvy, scratchy or smooth, light
or dark. These characteristics of lines
suggest varied ideas and may express

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different moods.

● Thick, dark, and angular lines usually project

a heavy feeling and convey a sense of
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foreboding to the viewer.

● Curvy, thin, and free-flowing lines on the

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other hand, presents a soft, delicate, and

light feeling.
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Line may also be used as outlines
defining the borders of a shape,
showing the contours of the figure or
an object. Contour lines can be used

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as guide for where paint may be
applied in 2D artworks.

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Line may be used by the artist to
outline forms and shapes, to create
depth and texture and to suggest
direction and movement. When the

TOPIC D
viewer looks at the whole
composition, the role of each line
comes into play. Some lines become

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dominant and others recessed to the
background.

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Line may be admired separately but
their real beauty lies in how each
contribute to the final form of the
whole composition and the message
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the artist wants to bring forth.

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THE ELEMENT OF COLOR

● Every day from the moment our eyes open, we

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see all around a world filled with colors. We
cannot even imagine an existence without it.
Colors enhance the beauty in all things.

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● It has been observed that colors appeal to our
emotions and interact with the physiology of
the visual system to amaze us into the manner
in which it is perceived. Color are only seen

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when light surrounds an object. Needless to
say, the absence of light equals no perceived
color. Colors therefore are a property of light.

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● This discovery was made by an intelligent of
science named Sir Isaac Newton. He found that
by passing a beam of light through a triangular

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piece of glass called a prism, white light breaks
into a visible color spectrum. The colors
separate into the various wavelengths from the
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longest which is red to the shortest, violet. Sir

Newton realized that the colors of the rainbow
come from white light.
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Physical Properties of Color

Hue.

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This pertains to the name for which the color
is known. The hue is determined by the
wavelength of light physically given by the
color. Examples of hues are; red, orange,

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green, violet, indigo, and blue. These are also
the colors of the visible spectrum.
Value.

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This characteristic refers to the lightness or
darkness of a color. The value of color pertains
to the absence of white or black. Hue can

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exist in different degrees of values. When
white is added to the hue, the result is called a
tint. The more quantity of white is added the
lighter will be the value of the hue. On the TOPIC F
other hand, when black is mixed with a hue,
the result is called a shade. The greater the
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quantity of black added, the darker is the

value of the hue. Thus light blue (tint) has
lighter value compared to navy blue (shade)
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which has a dark value.

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Intensity or saturation.

This characteristic refers to how pure the

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color is. Pure hues pertain to the absence of white,
black, or gray. Colors high in saturation (high
intensity) tend to be bright, and colors low in
saturation (low intensity) tend to be dull. Intensity

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distinguishes between a brighter appearance of
the hue from a duller one of the same hue.

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Additive and Subtractive Colors

In reality, two color systems exist depending on the

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source. Colors of light, like what was discovered by Sir
Isaac Newton and colors of pigment have different
characteristics. They are either additive or subtractive.

Colors of light are additive in the sense that when you

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combine the colors, the result will be white. Colors of
pigments (paints) are subtractive. Combining these
colors result in black for each color in this mixture cancel
out each other’s brightness.

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Color wheel

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Sir Isaac Newton was the first to
conceptualize the color wheel to discover

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relationship between and among colors.
Now the color wheel can be described as a
circle divided equally into twelve parts
representing the twelve colors and how
they relate to each other. Other versions of TOPIC F
the color wheel can now be seen but
basically no matter how the colors are
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presented, the arrangement will always

be the same.
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Types of Colors

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Primary Colors
The color wheel is primarily based on
pigments making the mixture subtractive. In

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the color wheel can be seen the three
primary colors which are red, yellow, and
blue. In colors of light, it should be noted that
the primaries are red, blue, and green. They

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are called primary colors because these colors
cannot be produced by the mixture of other
colors.

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Secondary Colors
These colors result from the combination of

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two primary colors in equal amounts. Thus
the secondary colors are orange which
results from a combination of red + yellow;
green which is a combination of yellow +
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blue; and violet which is a combination of red

+ blue.
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Intermediate Colors.
These colors can result from a combination of a

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primary and a secondary color; the intermediate
colors are: red-orange [R + (R + Y)], yellow
orange [Y + (R + Y)], yellow-green [Y + (Y + B)],
blue-green [B + (Y + B)], blue-violet [B + (R +
B)], and red-violet [R + (R + B)].

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The primary colors (3), secondary colors (3)
and the intermediate colors (6) are the twelve
(12) colors that are properly positioned in the

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color wheel.

Tertiary Colors.

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In most books, intermediate colors and tertiary
are considered one and the same. Further
research into colors as an element of art suggest

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that the two are not the same.
In the book entitled Art Fundamentals by Ocvirk
(2002), it was stated that tertiary colors are
created by combining any two secondary colors
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or by neutralizing one color by adding it

complement or opposite color in the color wheel.
Thus browns and olive greens and a host of
other colors are tertiary colors.
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Neutrals

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When we look at pigments, we realize that not all
of them show color. Black, white, or gray, do
not share the same characteristics of any color in
the spectrum. Because they show no color

TOPIC C
quality, they are called neutrals.

White for instance can be described as the

presence of all colors because it occurs when a

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surface reflects all of the color wavelengths
equally.

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Black on the other hand is usually described as
the absence of color. It was observed to result
when the surface absorbs all of the colors and
reflects none of them.

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Gray is described as an impure white. It is created
by a partial reflection of all wavelengths of colors.
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It is to be emphasized that neutrals are concerned

with the quantity of light that is reflected whereas
colors are more of the quality of light that is
reflected.
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Thank
you!
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