MODULE 5: ELEMENTS OF THE

VISUAL ARTS
Dr. James Loreto C. Piscos
 Elements

1. Line
2. Shape/Mass/Form
Volume
3. Texture
4. Color
5. Value
6. Space
7. Movement
1. Line
 Lines – man’s 2. Vertical line appears
invention and moves poise and stable
in several directions: 3. Diagonal line implies
vertically, horizontally, action
diagonally or curved. 4. Curved line – gradual
 Directions of line change of direction and
creates emotional shows fluidity
states:
1. horizontal line
created an impression
of serenity and perfect
stability
Example of Implied Lines
2. Shape
 Classification 1. Natural – those we see
according to Sources: in nature as in men,
1. Natural shape animals or trees
2. Abstract 2. Abstract – are formed
3. Non-objective or after drawing out the
geometric essence of the original
object and made it the
subject of his work
Example of Abstract Form/Shape
3. Non-objective
Shapes seldom have
reference to
recognizable objects.
Also called
biomorphic shapes
such as the stage
curtain of CCP.
Shape in Sculpture
 Shape in sculpture are  When the mass is
identified either as structured or has a
mass or as volume. definite shape, it is said
 Mass is a matter that to have volume.
has weight and solidity.  Example:
 It can be lifted, pushed  Monument of Ninoy
or viewed in the round. Aquino or Sultan
Kudarat in Makati.
 3. Texture
 Tactile or feel quality of  Functions of Texture:
the surface of the object 1. To experience sensuous,
 Texture also results decorative quality
chiefly from the physical 2. Means of description
properties of the 3. Clarifies space – can
materials they use. create a greater degree
of spatial depth as well
as volume
 4. Color
• Color is a series of
wave lengths which
strike our retina.
• Color is not a
permanent property
since it is derived
from light whether
natural like sunlight or
artificial like
fluorescent lamp.
 Physical Properties of Color
1. Hue 1. Hue – is the
2. Value quality which
gives color its
3. Intensity or
name. The color
Saturation
of the spectrum
are called hues.
The color spectrum:
red, orange, blue,
indigo and violet
2. Value – the lightness or
darkness of a color
When black is combined
with a color, a shade is
produced; when white is
added to it, a tint results.
Black added to red
results in dark red; when
white is added, we get
light red.
3. Intensity or saturation –
refers to the quality of
light in a color
Types:
a. Primary colors –pure
colors and are not
formed from mixtures of
colors. These are red,
blue and yellow.
b. Secondary colors –
formed out of the
combination of the
primary colors. We have
orange from the mixture
of yellow and red; green
from yellow and blue
and violet from blue and
red.
3. Intermediate colors: Complementary colors –
the mixing of primary the colors opposite to
and secondary colors, each other when
or among the mixed will create
secondary colors. vibrating contrasts of
Example: yellow and opposites and produce
green = yellow green, an effect of mutual
blue and green = enhancement.
aqua
 Yellow
Yellow Orange
Yellow Green

Orange Green
COOL
WARM
COLORS
COLORS
GREY
Blue
Red Orange Green

Red Blue

Red Violet Blue

Violet
Violet
 Uses of color
1. Color may give 3. Color has the ability
spatial quality to the to arouse sensations
pictorial field of pleasure because
2. Color may create a of a well-ordered
mood and symbolize system of tonality
ideas and express
personal emotions
5. Value
 Value is tonal  Value is an element
relationship between that must be
light and dark areas in considered in relation
a painting. It also to other elements such
referred to as tone. as line, color, texture
 Scale of Values: and shape.
 White-high light-light-  Shadows and
low light-medium-low highlights peculiar to
dark-dark-high dark - type of surface help
black create the illusion of
roughness or
smoothness of an
object
6-7: Space and Movement

 Space exists as an  Painters are limited

“illusion” in the by the height and
graphic or 2 width of the picture
dimensional visual plane. The three
arts arts but in dimensional art has
sculpture it is a depth space
actually present. otherwise known as
decorative space.
  The warm colors give
 Plastic Space – term the illusion that they
used to designate for are closer to us than
the third dimension in the cool colors.
2 dimensional arts like
painting which is a
matter of illusion
Perpective
 Perspective – the show  2. Linear perspective –
of space relationships creates effect of space
Types: and distance in art
1. Perceptual Perspective –  3. Conceptual
show of space perspective – we do not
relationships as they see objects represented
appear in real life as we see them in real
life.
Linear Perspective
 Perspective
• 4. Reverse
Perspective:
Artist takes liberties with
spatial order – lines
converge toward the
viewer as if the
horizon line were
behind him
On the left the perspective of a cube, on the right the
reverse perspective.
Principles of Design
1. Harmony - adaptation 2. Variety –
of visual elements to This principle is needed to
each other prevent monotony
achieve by the repetition
of characteristics 3. Rhythm –
which are similar in
nature such as shape, A continuance, a flow or a
size and color feeling of movement
achieved by the
repetition of regular
visual units.
Principles of Design
4. Proportion – 5. Emphasis and
Ration of one part to Subordination
another and of the The giving of
parts to the whole. importance to parts
Ratio implies the and to the whole
comparison between -should not compete for
parts. attention
Example: the location of
the UP oblation
Principle
6. Balance – Types of Balance:
Feeling of equality in 1. Symmetrical –
weight, attention achieved by the
or attraction of use of identical
various elements position
In arts , balance is compositional
more felt than units
seen Ex: Quiapo Church
2. Asymmetrical Balance –
Obtained when the visual units on
either side of the axis are not
identical but are placed in
positions so equated as to
produce a “felt” equilibrium.
 Unity in an organization results
from an interplay between
harmony and variety. Harmony
comes from a reconciliation
between 2 forces in opposition
which are balanced either
symmetrically or asymmetrically.
Transitional agents such as
rhythm, emphasis and
subordination and proportion
bring about the reconciliation of
these forces.