TRANSITIONAL LINES: modify
Module 4
ELEMENT
● Particular part of something
● Part / aspect of something abstract
= essential or characteristic
● The result to the medium after
techniques are applied
ELEMENTS OF VISUAL ARTS
1. Line: prolongation of a point
a. Solid lines: define form
b. Broken lines: suggest
hidden forms
c. Straight lines: basic
framework but lacks
softness and flexibility,
buoyancy and grace. Move
in one direction only.
Lines have direction and are
always moving. Line is an important
element at the disposal of every artist.
Lines suggest…
● Man usually lies prone when
asleep, stands erect when in action
● Man has learned that certain
emotional states find expression
in definite positions
REPETITION: occurs when two or
more lines are drawn within a corner.
sharpness of vertical + horizontal lines,
giving a harmonizing effect.
LINE CLASSIFICATIONS
1. Straight Line
a. Horizontal: repose and
serenity. Found in reclining
persons, landscape, calm
bodies of water, distant
meeting of earth and sky
[horizon]
b. Vertical: denote action.
Suggest poise, balance,
force, aspiration,
exaltation, dynamism,
inquietude.
i. Gothic cathedrals
c. Diagonal: action, life,
movement. Almost every
object in action.
2. Curved Line: suggest grace,
subtleness, instability, movement,
flexibility, joyousness, grace
a. Crooked / jagged: energy,
violence, conflict, struggle
CROOKED / JAGGED LINES
CLASSIFICATIONS
● Lines w/c follow or repeat one
another
● Contrast with one another
 ● Transitional lines w/c modify or ○ Advancing colors = effect
soften effect of others of advancing / coming
towards you
2. Color: has the most aesthetic
appeal. ● Cool Hues: where blue
a. Delight in color is a predominates [green, blue-green,
universal human blue, blue-violet]
characteristic ○ Cause surfaces to appear
b. Property of light receding
c. Light of the sun = violet, ○ Suggest distance
indigo, blue, green, yellow, ○ Calm, sober, restful,
orange, red inconspicuous

3 DIMENSIONS OF COLOR ● Red: fire and blood

○ Warmest, most vigorous,
1. Hue: dimension of color that most exciting
gives it name ○ Passion and energy
a. Red, blue, green, violet,
yellow ● Yellow: color of light
b. Primary hues: blue, red, ○ Brilliant, cheerful, exultant
yellow ○ Cheerfulness,
c. Secondary hues: orange magnificence, life,
[red, yellow], green splendor
[yellow, blue], violet [blue, ○ Serves to balance warm
red] colors like red & orange

● Warm Hues: associated with ● Green: vegetation

sources of heat ○ Symbolize life and
○ Impart warmth to any freshness
composition they are used
○ Conspicuous, cheerful, ● Violet: shadows and mysteries
stimulating, vivacious, ● Black: despair, death, pain
joyous, exciting ● Orange: deliciousness and warm
○ Suggestive of impetuous / ● Blue: sky and deep & still water
instinctive action ○ Coolest, most tranquil
○ Peace and quietness
2. Value: chiaroscuro PSYCHOLOGY OF COLORS
a. Lightness / darkness
b. Quality w/c depends on the ● Black: death and gloom
amount of light and dark ● White: purity and innocence
c. Expression of depth and ● Blue: color of heaven
solidity and lend form to ● Red: blood
paintings ○ Signifies anger, provokes
fear, impels people to
● Tints: values above normal action
● Shades: values below normal
○ Pink = tint of red ● Orange: assertiveness
○ Maroon = shade of red ● Green: color of nature
○ Sky blue = tint ○ Promotes the feeling of
○ Navy blue = shade well-being
○ Happy and restful
● Value of a hue can be changed association
● Raise hue = adding more light = ○ Natural abundance
reflects more light
SUGGESTED MEANING /
3. Intensity: brightness / darkness
a. Color strength
MESSAGE OF COLORS
b. Full intensity, two-thirds
intensity, two-thirds neutral ● Red: passion, desire, love
c. Two colors may be both ● Yellow: cheerfulness,
blue, but one is more magnificence, life
intense than the other ● Green: life and freshness
d. Dulled = partly neutralized ● Violet: shadows, mysteries,
e. More black / white is nobility
added = weaker intensity ● Black: power, elegance, formality
● Orange: deliciousness,
enthusiasm, warmth
● White: innocence, purity,
goodness
● Gold: prestige, wisdom, wealth
● Brown: stability, masculinity
● Blue: peace, quietness
Colors: MEANING CONVEYED
BY THE ROSE
The rose is a flower worthy of
mention for varied psychological and
emotional connotations. It is also the
universal flora of love.
● Two roses = ready for marriage
● Single rose = simplicity
● White roses: secret affection
○ Denotes secrecy
○ Innocence, purity,
reverence, humility
● Pink roses
○ Deep: gratitude &
appreciation. “Thank you”
○ Light: sympathy, grace,
gentility
● Red roses: “i love you”
○ Courage and fortitude
● Yellow roses: joy and freedom
○ If combined with red, they
stand for jovial and happy
feelings
● Coral / Orange roses: enthusiasm
and desire
● Red and white roses: unity
SUGGESTED MEANINGS OF
LINES
● Vertical: poise, aspiration,
exaltation
● Horizontal: rest, calm, motionless
● Diagonal: action, line, movement
● Curved: softness, grace, flexibility
● Crooked / jagged: energy,
violence, conflict
Color Values:
PSYCHOLOGICAL EFFECTS
● Light values / tints makes the size
of objects appear larger = reflect
light
● Individual looks larger in light
colored clothing
● Light hues seem to recede when
seen from above [ceiling]
● Rooms appear higher with light
colors
● Distance objects appear to have
light values = suggest distance /
background
● Dark hues / values = decrease the
size of objects because it absorbs
light
● Large people = dark colored
clothing = appear smaller
 c. Open or closed
● Dark color can also suggest d. Shallow or deep
foreground or nearness e. 2D or 3D
○ Floors and rugs must be f. Sometimes not actually
dark hues within a piece, but the
○ Dark-colored floors make illusion of it is
the room appear stable
6. Form: describes the structure of
3. Texture: deals more directly w/ an object
sense of touch. Best appreciated a. Directs eye movements
when touched with our hands. b. Consists of size & volume
a. Perceived surface quality = signifies visual weight
of a work of art c. Includes height, width,
b. 2D and 3D designs depth
d. Generally refers to
4. Perspective: Latin perspicere = sculpture, 3D, architecture,
see through. but may also relate to
a. Deals w/ effect of distance illusion of 3D and 2D
upon appearance
b. The eye judges spatial TYPES OF FORM
relationships
● Regular: parts are related to one
TWO KINDS OF another in a consistent, orderly
PERSPECTIVE manner

● Linear: representation of an ● Irregular: parts are dissimilar and

appearance of distance by means unrelated to one another
of converging lines
● Centralized: no. of secondary
● Aerial: relative distances of forms clustered to produce a
objects by gradations of tone and dominant, central, and parent
color form

5. Space: distance / areas around, ● Linear: arranged sequentially in a

between, or within row / series of forms along a line
a. Positive: white / light
b. Negative: black / dark
● Radial: extend outward from
central form in a radial form

● Grid: modular forms whose

relationships are regulated by 3D
grid

7. Volume: amount of space

occupied in 3D
a. Perceive in two ways:
contour lines, outlines,
shapes OR surface lights
and shadows
b. Primary concern of
architects
c. Illusion in painting
Module 5
● Repetition: parallel sides of a
smaller rectangle placed within
PRINCIPLES OF ART DESIGN another bigger rectangle

DESIGN Size: refers to a good proportion.

A plan / drawing produced to
show the look & function or workings of Color: using two or more colors in
a building, garment, or other object decorating an article / object. Does not
before it is built or made. mean mixing the colors.

The proper arrangement of Color combinations giving the

various elements in order to produce most pleasure are most likely to be those
something beautiful. possessing harmony / unity.

1. Harmony: impression of unity Texture: can be determined by feeling

through selection and the objects w/ fingertips or by looking at
arrangement of consistent it.
elements.
a. Harmony = order = Coarse and fine materials used
harmonious arrangement together do not give a harmonious effect,
b. Appearance and its and so should be avoided.
functionality have to be
considered Idea: shapes, sizes, and textures are not
enough. There must be harmony in the
5 ASPECTS OF HARMONY ideas presented together.

LINE AND SHAPES

2. Rhythm: regular, uniform, or
● Transitional line: softens & related visual movement made
modifies other lines. Usually through repetition of a unit /
curved, graceful line w/c connects motif.
two or more opposing lines a. Basis of almost all
performing arts because it
● Contrasting / Opposing lines: is the principle w/c is more
straight line w/c intersects each quickly felt.
other and form angles
 b. Strong, regular, repeated
pattern of movement /
sound.
c. Synchronization
Motif: decorative design or
pattern.
a. A dominant feature or part
repeated in a design
Not all movements in a design are
rhythmical. Rhythm can be observed
when units are of the same size and
distance.
If a unit is repeated in one
direction, ir produces a border design. In
two directions, a surfaced pattern.
Rhythm is not only applied to
graphic arts, but also to architecture,
music, textiles, laces, furniture,
glassware, dresses, etc.
2 CLASSIFICATIONS OF
RHYTHM
● Formal rhythm: [uniform rhythm]
repetition of a motif in a regular
arrangement
● Informal rhythm: [free rhythm]
repetition with variation in its
form and arrangement
3. Balance: quality w/c gives feeling of
rest, peace, repose, stability.
a. State of equilibrium; equal
distribution of weight, amount,
etc.
In arts, we do not exactly arrange
the objects of equal physical weights to
produce balance. It is the visual weight
of lines, forms, values.
Visual weight: quality w/c gains
and holds attention.
DIVIDED INTO TWO
● Symmetrical balance: equal visual
and weights placed at equal
distances from the axis.
○ Equal weight on equal
sides of a centrally placed
fulcrum.
○ Formal balance
○ Bilateral symmetry:
elements are arranged
equally on either side of a
central axis
● Asymmetrical balance: typically
off-centered or created with an
odd or mismatched no. of
disparate elements.
○ Unequal visual weights =
heavier one being nearer
the axis, the lighter one
farther
○ Informal, Occult, or Free
Balance
4. Proportion: size relationships of one
part to another part, or the whole.
a. Quality of art w/c shows pleasing
relationship b/w a whole and its
parts, and between the parts
themselves
b. Expressed in terms of ratios
A Greek oblong or rectangle with
the ratio of 2:3 is the standard Greek
proportion for 2D or flat surfaces.
The Parthenon, a building in
Athens, Greece is considered the most
perfectly proportioned architectural
structure in the world.
A Greek Standard for 3D / solids
is 5:7:11, especially used in buildings
and determining proportion of margins
for framed pictures.
3 ASPECTS OF PROPORTION
● Grouping of Objects:
arrangement; may show good or
bad proportion.
○ 3 objects with another 3
○ 2 objects with 3 or 4
○ Odd number is more
interesting than even
numbers
○ Very small objects should
not be grouped with very
large ones [out of
proportion]
● Space Divisions
● Scales
5. Emphasis: make certain parts of their
artwork standout and grab attention
a. Outline, form, color, texture, size,
idea, or value
METHODS OF EMPHASIZING
● Arrangement / Grouping: orderly
group of things considered as a
unit. Should be located at the
center, biggest, and brightest in
colors.
● Decoration: intended to increase
the beauty of a person, room, etc.
Something nice to make it look
more attractive.
● Color contrast: depends on how
high the saturation is.
○ Less saturation = tonal
contrast becomes
noticeable
○ More saturation = color
contrast takes over
● Use of Plain Background Space:
simple decorations placed against
sufficient plain background will
be more empathic than when the
background space is small.
 ● Unusual lines, shapes, colors: Module 6
novelty / newness to a specific
element.
METHODS OF ART
● Action / Movement: dynamic PRODUCTION &
illustrations usually attract more PRESENTATION
attention than passive ones.
REALISM
OTHER ART PRINCIPLES
Attempts to portray the subject as
1. Novelty / Newness: provides the it is. Realists try to be as objective as
best opportunity for developing possible.
one’s creative ability.
The main function is to describe
2. Variety / Variation: makes the as accurately and honestly as possible
space the furniture occupies more what is observed through senses.
interesting and attractive.
An artwork is realistic =
3. Utility, Adaptability, Function: the presentation + organization seem so
objects must be adaptable to the natural. Realism is a common way of
purpose for w/c it is made. presenting the art subject.

4. Contrast: synonymous to ● Real life phenomena, object,

opposition. It has some people
relationships w/ balance and ● Murals
emphasis. Two contrasting lines /
colors may balance each other. ABSTRACTION

When the artist becomes so

interested in one phase of a scene; he
does not show the subject - only his idea
/ feeling about it.

● Means to move away or separate

● Moves away from showing things
as they really are
 ● Paints the picture not as it really
looked
● Not lifelike / realistic
1. Distortion: the subject is in
misshapen condition / regular
shapes are twisted out
2. Elongation: being lengthened,
protraction, or an extension
3. Mangling: cut, lacerated,
mutilated, or hacked w/ repeated
blows
4. Cubism: use of cone, cylinder,
sphere at the expense of other
pictorial elements
a. Cezanne, George Braque
of France, Pablo Picasso of
Spain
5. Abstract expression: originated in
NYC after WWII & gained an
international vogue
a. Strong color, heavy
impasto, uneven brush
strokes, rough textures
b. Departs completely from
subject matter
c. Jackson Pallock, NY
SYMBOLISM
Transcends the everyday
run-of-the-mill sign + assumes a new and
fresh meaning, originating from a highly
personal and unique association born in
the mind of the artist.
● Juan Luna - Spolarium [spoils of
war, spoils of tyrants, and the
king]
FAUVISM
Was a brief art movement made
up of several young Parisian painters at
the beginning of the 20th century.
Primarily a transitional movement; it
came about as the art world shifted from
the Post-Impressionism [Van Gogh,
Cezanne, Gauguin], to the Cubism of
Braque and Picasso.
Led by Henri Matisse - they often
used vivid colors without much mixing /
blending, to create flat shapes while still
being representational.
Their paintings weren’t meant to
closely mimic nature / re-create the
impression of light, but to use whatever
colors necessary to express emotion or
feelings.
Les Fauves was actually first used
as a derogatory remark by French art
critic Louis Vauxcelles. It means “wild
beasts”, referring to Matisse and the
others’ choice of colors, indicating that
their work was savage and primitive.
 ● First important movement of the
1900s, led by Henry Matisse
● Andre Derain, Raoul Dufy,
George Rouault [France]
● Tried to paint pictures of comfort,
joy, pleasure
● Uses extremely bright colors
DADAISM
The first major anti-art
movement. It was a revolt against the
culture & values w/c had caused and
supported the carnage of the First World
War (1914 - 1918).
It quickly developed into an
anarchistic anti-art movement whose aim
was to subvert and undermine the value
system of the ruling establishment w/c
had allowed the war to happen, including
arts w/c they viewed as inextricably
linked to the discredited socio-political
status quo.
Erupting simultaneously in 1916
in Europe and America, its leaders were
typically very young [early 20s] and
most had opted out - avoiding
conscription in the shelter of neutral
cities [NY, Zurich, Barcelona].
As an anti-art pressure-group, it
resorted to outrageous tactics to attack
the established traditions of art,
employing a barrage of demonstrations
and manifestos, as well as exhibitions of
absurdist art deliberately designed to
scandalize + shock both authorities and
the general public.
Centers of public Dada activities
were usually small and intimate:
- Zurich Cabaret Voltaire
- Alfred Stieglitz’s Photo-Secession
Gallery
- Aresnberg’s apartment
- Marius de Zaya’s Modern Gallery
- Club Dada in Berlin
Despite its nihilistic mission,
Dada led to the emergence & refinement
of several important innovations in fine
art:
- Collage
- Photo-montage
- Surrealism [modern art
movement]
- Pop-art
- Neo-dada [contemporary art style]
- Installation [20th century]
- Performance
● Dada: coined in Zurich in 1916 by
Richard Huelsenbeck (1892 -
1927) randomly and
painter-musician Hugo Ball (1886
- 1927) from a German-French
dictionary.
● Means Yes-Yes in Russian,
There-There in German [universal
baby talk], and hobbyhorse in
French
 ● Jean Arp and Romanian poet &
demonic activist Tristan Tzara,
they founded the Cabaret Voltaire
[early center of multicultural
Dada events and protest shows]
● Other Zurich Dada supporters:
○ Romanian Sculptor Marcel
Janco
○ German painter and
filmmaker Hans Richter
In NY, a group of artists were
busy developing an American Style of
Dada anti-art, including the celebrated
French contemporary artist Marcel
Duchamp, whose works were already
firmly Dadaist, the French Cubist painter
Francis Picabia, the painter, sculptor &
photographer Man Ray, and Precisionist
artist Morton Schamberg.
● The idea is more important than
the work of art itself
● Art can be made of anything
● Jean Arp (1887 - 1966): poet and
sculptor
● Marcel Duchamp (1887 - 1868):
Avant-Garde Artist
● Max Ernst (1891 - 1976): painter,
sculptor, graphic artist, poet
● Raoul Hausmann (1886 - 1971):
painter, photographer
● Man Ray (1890 - 1976): painter,
photographer
FUTURISM
To capture the speed and force of
modern industrial society. It glorified the
mechanical energy of modern life.
● Automobiles, motorcycles,
railroad trains express the
explosive vitality of modern city
● Robots
● Space elevator
SURREALISM
Defined as a style in which
fantastical visual imagery from the
subconscious mind is used w/ no
intention of making the work logically
comprehensible.
For the first time, artists could
express their imagination as revealed in
dreams, shaped by emerging theories on
our perception of reality, free of the
conscious control of reason and
convention.
Many people of this time period
were drawn to this fantasy world, for
Europe was in the midst of a
reconstruction due to Irish (civil) wars, a
new dictator, and economic issues.
Surrealism’s main purpose was to
resolve the previously contradictory
conditions of dream and reality into an
absolute reality, a super-reality.
 It was founded in Paris in 1924 by
French Poet Andre Breton. Surrealism
tries to reveal a new and higher reality
than that of daily life.
● Super realism
● Emphasizes the activities of
subconscious state of mind
● Subjects attempt to show what is
inside man’s mind + appearance
of his outside world
● Creates forms & images not
primarily by reason, but by
unthinking impulse and blind
feeling, or even by accident
Surrealists declare that a magical
world - more beautiful than the real one -
can be created in art and literature.
Much of the beauty sought by
surreliams is violent and cruel. To shock
the viewer / reader and show what they
consider the deeper and truer part of
human nature
EXPRESSIONISM
The movement is originally
German and Austrian. There was never a
group of artists that called themselves
Expressionists.
There were a no. of Expressionist
groups in painting, including the Blaeu
Reiter and Die Brucke.
Later in the 20th century, the
movement influenced a large no. of
artists, including the so-called abstract
expressionists [Jackson Pollock]. At the
end of the 20th century, a group of artists
in South America developed a style
known as Southern expressionism.
Expressionism painting is a
represented distortion of reality, resulting
in an emotional effect. It can often imply
emotional angst.
- El Greco
- Matthias Grunewald
● Introduced in Germany during the
first decade of the 20th century
● Necessity of a spiritual rebirth for
man in an age that was fast
becoming influenced by
materialism
● Emotional expression in
expressionistic paintings could be
described as involving pathos,
morbidity, violence / chaos,
tragedy and sometimes portray
defeat