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MABINI COLLEGES, INC. programs at all educational levels as its
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OF EXCELLENCE in education”
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1st Sem., S.Y.2022-2023 - Locally and Globally

competitive persons.

GEC 6 – ART APPRECIATION LESSON: ELEMENTS OF VISUAL

ART

Elements of Art: Visual

These elements of art are generally produced when something is done to the Medium after the technique is
carried out. It must be underscored, however, that all works of art require all elements to be present. Some art
forms also necessitate some of the elements as they are inherent in the very nature of them. For example, sculptures
automatically have the following elements with or without the decisions of the artist to include them: shape, form, and
space. Without these elements, there is no sculpture to begin with. Elements are the necessary preconditions for the
creation of art.

The elements of art and design are the following:

1. Line

A line refers to a point moving at an identifiable path ----- it has length and direction. It also has width. It is one-
dimensional; however, it has the capacity to either define the perimeters of the artwork (edges) and /or become a
substantial component of the composition.

a. Horizontal lines - refers to the orientation of the line. Horizontal lines are normally associated with rest
or calm. Landscape often contains these elements as works like these often connote a visual sense of
being parallel to the ground.

b. Vertical lines - suggest height and strength

 c. Diagonal lines - diagonal lines convey movement and instability, although the progression can be seen.

d. Crooked or jagged lines - are reminiscent of violence, conflict, or struggle.

d. Curved lines - these are lines that bend or coil. They allude to softness, grace, flexibility, or
even sensuality.

One of the most important Spanish artists is Francisco de Goya. Known for his prints, he is a master of
etched works and use of aquatint. He made use of this medium to articulate his political views about the ills of
society, war scenes, and even the dreamlike and grotesque while still engaging with what was happening around
him. As with most etchings and other types of prints, lines are dominant visual components.

2-3 Shape and Form

These two are related to each other in the sense that they define the space occupied by the object of art. Shape
refers to two dimensions; height and width, while form refers to three dimensions: height, width, and depth. Even
if shapes are part of a bigger picture, each can be identified by breaking the visual components apart and making
distinctions based on what we know and what we have seen. Two categories can be used as a broad distinction:

a. Geometric - these shapes find origin in mathematical propositions. As such, its translation and use are
often man-made. These include shapes such as squares, triangles, cubes, circles, spheres and cones
among others.
 b. Organic - organic shapes are those readily occurring in nature, often irregular and asymmetrical. The
design of the vase in Figure 55 is foliage, a sample from a series that made use of morning glories.

Shapes may also be implied. For instance, Raphael's famous painting "The Madonna of the Meadows”
depicts three figures: Mary, the young Jesus (right), and the young John the Baptist (left). The positions in which
the group takes allude to a triangular shape reinforced by the garb of Mary.
4. Space

Related to shape and form is space. It is usually inferred from a sense of depth, whether it is real or simulated. Real
space is three- dimensional. Like what has been previously mentioned, sculptures are a perfect example of artworks
that bear this element. However, this can only be manifested in two dimensional artworks through the use of
different techniques, or the use (or non-use) of area around a drawing or picture

However, not all works are sculptures. In two-dimensional artworks they may be implied.

a. Positive and negative space - usually identified with the white space is negative space. The positive
space, on the other hand, is the space where shadow is heavily used.

b. Three-dimensional space - can be simulated through a variety of techniques such as shading. An

illusion of three-dimensionality can be achieved in a two-dimensional work.

5. Color

Color is perhaps one of the elements that enhances the appeal of an artwork. Its effect has range, allowing the
viewer to make responses based on memory, emotion, and instinct, among others. This element is a property of
light, as it is reflected off the object. Color is not intrinsic to an object and without light, one cannot perceive color.
Much of what we know about colors begins with the notion of a Color Theory that was first unraveled by the
experiments undertaken by Sir Isaac Newton in 1666. A ray of sunlight passing through a prism reveals an array of
colors akin to that of a rainbow.

Anish Kapoor, “Cloud Gate” (2004), located in Chicago Illinois

In the middle of the AT&T Plaza at the Millennium Park in the Loop Community area in Chicago,
the iconic "Cloud Gate" occupies a considerable spa
ce. Shaped like a bean, hence its other referent,
the public sculptures
were unveiledin 2004. The dent in the middle offers a gap in which people can
pass through and gaze at the sculpture in a different perspective.
An upshot of this color theory is the creation of a color wheel. The color wheel corresponds to the first property of
color, hue.

a. Hue - this dimension of color gives its name. It can be subdivided into:
• Primary Colors - red, yellow, and blue
• Secondary Colors -green, orange and violet
• Tertiary Colors - six in total, these hues are achieved when primary and secondary colors are mixed.

b. 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 in establishinga
scene (e.g., day and night)
• Light colors-- taken as the source of light in the composition
• Dark colors-- the lack or even absence of light

However, we can identify the color even when a range is presented to us. Expectations are also
established based on the notion that yellow is within the light value; whereas, violet is in the dark. Each primary color
has a range of values based on the addition and diminishing quantity and quality of light.

Tint -- this is a lighter color than the normal value (e.g., pink for red)

Shade -- this is a darker color than the normal value (e.g., maroon for red)
 c. Intensity - this is the color's brightness or dullness. It is identified 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

Dull or cool colors - sedate/soothing, seriousness or calm

To better understand intens ity of color, color harmonies are to be considered. In interior design,
we often hear designers refer to color schemes --- a guide for selecting not only wall paint but also
furniture and decor. However, color harmonies are also integral considerations not only for pictorial
arts buy also for other art forms.
a. Monochromatic harmonies -- use the variations of a hue.
complementary color.

A. Monochromatic harmonies– use the variations of hue.

warmlight or warm colors - positive energy
 Bryce Canyon Sunrise Fog

c. Complementary harmonies -- involve two colors opposite each other in the color wheel. Since they
are at contrary positions, the reaction is most intense.
 Complementary colors

Joshua Tree Sunrise

c. Analogous harmonies -- make use of two colors beside each other in the color wheel

Mauve Playa, Death Valley National Park

Other harmonies have emerged such as triadic harmonies, which make use of three colors from equidistant
sites within the color wheel. This, however, does not mean that artists will limit themselves to these kinds of
harmonies. These are but jump-off points that artists and other creatives use.

6. Texture

Like space, texture can be either real or implied. This element in an artwork is experienced through the
sense of touch (and sight). This element renders the art object tactile.
 Frans Pourbus the Younger, “Margherita Gonzaga, Princess of Mantua”

Often, texture is commonly associated with textiles. In the portrait rendered by court painter Frans
Pourbus the Younger, Princess Margherita's garb is adorned in opulent bead and stitch work that are befitting her
rank. This was achieved using techniques employed by the artist in creating the artwork.

a. Textures in the two-dimensional plane -- texture can be implied using one technique or a combination of
other elements of art. By creating this visual quality in the artwork, one can imagine how the surface
will feel if it was to be touched. Some of the words used to described texture are the following: rough or
smooth, hard or soft, hairy, leathery, sharp or dull, etc. To be able to simulate the texture of a surface in a
flat, two-dimensional plane is one important skill that an artist must be familiar with, especially if his
idea or concept necessitates it.

b. Surface texture -- refers to the texture of the three-dimensional art object.

The elements of art make it possible to engage with the visual and tactile qualities of the artwork through a
"common language" that may be widely understood. Through these elements, there is something from which the idea,
concept, message, or intended mood of the artist may be inferred. It offers a starting point or a baseline from which
analysis may take place. This kind of analysis is called formal analysis of art.

Prepared by:

ZUNIEGA, ELANIE P.
Instructor

Sources:

Caslib, B.N, et. al. (2018). Art Appreciation. REX Book Store, Inc https://www.g2.com/articles/color-schemes
http://paperheartdesign.com/blog/color-palette-terrific-teal http://www.naturephotographers.net/articles1012/ab1012-
1.html http://www.naturephotographers.net/articles1112/ab1112-1.html
https://beautiful-landscape.com/Reflections/using-color-harmonies-in-photography-part-1-of-9monochromatic-color-
harmony/