ART APPRECIATION: GE6 HUM 101
MODULE 7 AND 8
Instructor: ROMA DELA FUENTE, LPT
ELEMENTS OF ART: VISUAL
 Elements of art are akin to the atoms that are defined
as the units or building blocks of matter in a variety
of combinations and formations.
 The elements of art are the aspects of an artwork that
can be isolated from each other.
 These elements of art are generally produced when
something is done to the medium after the technique
is carried out.
 All works of art require all elements to be
present. For example, sculptures automatically have
the following elements with or without the decision of
the artist to include them: shape, form, and space.
Elements are the necessary preconditions for the
creation of art.
1. LINE
 It refers to a point moving at an identifiable
path – it has length, direction, width, and one-
dimensional. However, it has the capacity to either
define the perimeters of the artwork (edges) and
become a substantial component of the composition.
 Although line is simple, it has variations in view of its
orientation/direction, shape and thickness. These
variations import not only the visual element into the
artwork, but suggest meaning or message being
conveyed by the artist.
 Known for using lines to provide the outline or
contour of the figures he portrays in his work, Keith
Haring first executed the public mural “Todos
Juntos Podemos Parar El Sida” (Together We Can
Stop AIDS) in Barcelona in 1989. In 2014, it was
recreated at the foyer of the Museu d’Art
Contemporani de Barcelona (Barcelona Museum of
Contemporary Art) to commemorate it. Haring
battled with HIV/AIDS.
 A quality that is ascribed to lines is its ability to direct
the eyes to follow movement or provide hints as to a
work’s focal point.
a. Horizontal and vertical lines
– refers to the orientation of the line.
 horizontal lines are normally associated with rest
or calm. Landscape often contain these elements as
works like these often connote a visual sense of being
parallel to the ground. It alludes to position of the
reclined body at rest.
 vertical lines connote elevation or height,
which is usually taken to mean exaltation or
aspiration for action.
 Together, these lines communicate stability and
calmness.
b. Diagonal and crooked lines
– diagonal lines convey movement and
instability. Crooked or jagged lines are reminiscent of
violence, conflict or struggle.
c. Curved lines
– these are the lines that bend or coil. They
allude softness, grace , flexibility, or even sensuality.
Francisco de Goya
– one of the most important
Spanish artists known for his
prints. He is 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 is
happening around him.
 Lines may not necessarily explicit or literally shown.
As what many examples will portray, implied lines
may be just powerful, if not more.
 In “The Raft of Medusa”, the position and orientation
of the bodies that are aboard the raft are
predominantly diagonal in direction. This creates not
only movement but also tension in the scene. Based
on the actual event, the painting depicts 1816
wreckage of the French government ship called
Medusa.
2. 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. Two categories can be used as a broad
distinction:
 ART APPRECIATION: GE6 HUM 101
MODULE 7 AND 8
Instructor: ROMA DELA FUENTE, LPT
A. Geometric 4. COLOR
– these shapes find origin in  It is perhaps one of the elements that enhances the
mathematical propositions. As appeal of an artwork. Its effect has range,
such, its translation and use are allowing the viewer make responses based on
often man-made. These include memory, emotion, and instinct.
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 is foliage, a sample from a
series that made use of morning
glories.

 Shapes may be also be implied.  The color wheel corresponds to the first property of
For instance, Raphael’s famous color.
painting “The Madonna of the
Meadows” depicts three A. Hue – this dimension of color give its name. it can be
figures: subdivided into:

 Mary, the young Jesus, and the primary colors red, yellow, and blue
young John the Baptist. The secondary green, orange, and violet
positions in which the group colors
takes allude to a triangular six in total, theses hues are
shape reinforced by the garb of tertiary colors combination of primary and
Mary. secondary colors

3. SPACE B. Value – this refers to the brightness or darkness of

 It is usually inferred from a sense of depth, whether it color. Often used by artist to create the illusion of depth
is real or simulated. Real space is three- and solidity, a particular mood, communicate a feeling, or
dimensional. Sculptures are perfect example of in establishing a scene( e.g. day and night)
artworks that bear this element. However, this can
only be manifested in two-dimensional artworks light colors taken as the source of light in the
through the use of different techniques composition
dark colors the lack or even absence of light.
Pic of cloud gate
The iconic “Cloud Gate”
located in Chicago, Illinois  Each primary color has a range of values based on the
occupies a considerable addition and diminishing quantity and quality of
space. Shaped like a bean, light.
the dent in the middle offers
a gap in which people can tint this a lighter color than the normal value
pass through and gaze at the (pink for red)
sculpture. shade this is a darker color than the normal value
(maroon for red)
However, not all work are
sculptures. In two-dimensional artworks, they may be C. Intensity – this is the color’s brightness or dullness. It
implied. is identified as the strength of color, whether it is vivid or
muted.
a. Positive and negative space
– usually identified with the white space is the bright or warm positive energy
negative space. The positive space is the space where colors
shadow is heavily used. dull or cool colors sedate/soothing, seriousness or
calm
b. Three-dimensional space
– can be simulated through a variety of  To better understand intensity of color, color
techniques such as shading. An illusion of three- harmonies are to be considered. Color harmonies
dimensionality can be achieved in a two-dimensional work. are also integral considerations not only for pictorial
arts but also for other art forms.
 ART APPRECIATION: GE6 HUM 101
MODULE 7 AND 8
Instructor: ROMA DELA FUENTE, LPT
- Texture can be either real or implied. This
MONOCHROMATIC HARMONIES element in an artwork is experienced through the sense of
touch.
- use the variations of a hue. Example is Claud
Monet’s “Houses of Parliament”
“Margherita Gonzaga, Princess of
Mantua”
by Frans Porbus the Younger

 Texture is commonly associated with textiles.

A. Textures in the two-dimensional plane

COMPLEMENTARY HARMONIES – texture can be implied using 1 technique or a
– involve 2 colors opposite each other in the color combination of other elements of art. It can be describe
wheel. Since they are at contrary positions, the reaction is through: rough or smooth, hard or soft, hairy, leathery,
most intense. sharp or dull.

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

 The elements of art make it possible to engage with

“Three Saints: Roch, Anthony Abbot, and Lucy”
by Giovanni Battista Cima
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.

PLANES AND PERSPECTIVE

ANALOGOUS HARMONIES
– make use of 2 colors beside each other in the  Picture plane is the actual surface of the painting or
color wheel. drawing, where no illusion of a third dimension
exists.

“Before the Race” of Edgar Degas

 color presents a multitude of possibilities that affects
how works of art are taken in by the viewer.
LINEAR PERSPECTIVE
– system of creating an illusion of depth on
a flat surface. All parallel lines (orthogonals) in a
painting or drawing using this system converge in a single
vanishing point on the composition’s horizon line.

Its use was based on the following observations:

A. As forms and objects recede, the smaller they become.
“The Scream” of Edvard Munch B. We were taught that parallel lines never meet. However,
when they, too, seem to converge when they recede into a
distance, at a point, they both disappear. This point of
5. TEXTURE distance is called the vanishing point.
 ART APPRECIATION: GE6 HUM 101
MODULE 7 AND 8
Instructor: ROMA DELA FUENTE, LPT
 An example often used to illustrate linear perspective
is the railroad where tracks disappear off at a
distance.
 A viewpoint may also be construed as normal (view
standing up), low (view from a lower angle), or high
(view looking down on a scene) depending on the
position the viewers take.
There are types of perspective, grounded on the
number of vanishing points used by the artist:
A. One-point perspective
– often used in depicting roads, tracks, hallways,
or rows of trees; this type of perspective shows parallel lines
that seem to converge at a specific and lone vanishing point
along the horizon line.
B. Two-point perspective
– pertains to a painting or
drawing that makes use of 2
vanishing points, which can
be placed anywhere along
the horizon line. It is often
depicting structures such as
houses or buildings in the
landscape that are viewed
from a specific corner.
C. Three-point perspective
– the viewer is looking at a scene from
above or below. As the name suggests,
it makes use the three vanishing
points, each corresponding to each
axis of the scene.
ELEMENTS OF ART: AUDITORY
 Music is sound organize in a specific time. It is
considered an implement to cultural activities,
answering a specific role or function.
 During the times when man had to hunt for food,
music was used as a corral to herd of animals, or as
an element of specific rituals or rite.
 Different demographics, groups, and individuals may
have specific preferences as to the genre of music.
Some of the common elements of music are the
following: rhythm, dynamics, melody, harmony,
timbre, and texture.
1. RHYTHM
 it is associated to the terms beat, meter, and
tempo.
 Rhythm is the element of music that situates it in
time. It is the pulse of the music. Beat is the basic
unit of music while tempo refers to its speed
(beats/second). Beats can be organized into a
recognizable recurrent pattern, which is called the
meter.
Classical terms are used to refer to the variations
in tempo, which are:
 Largo – slowly and broadly
 Andante – walking pace
 Moderato – at moderate speed
 Allegro – fast
 Vivace – lively
 Accelerando – gradually speeding up
 Rallentado – gradually slowing down
 Allargando – getting slower, broadening
 Rubato – literally “robbed time”, rhythm is
played freely for expressive effect
2. DYNAMICS
 refers to the loudness or quietness of music.
 Pianissimo (pp)- very quiet
 Piano (p) – quiet
 Mezzo-piano (mp) – moderately quiet
 Mezzo-forte (mf) – moderately loud
 Forte (f) – loud
 Fortissimo (ff) – very loud
 When composers indicate an increase or decrease in
loudness, they use the term crescendo and
decrescendo/diminuendo.
3.MELODY
 refers to the linear presentation (horizontal) of
pitch. By horizontal, it means that in musical
notation, it is read in succession from left to right.
Pitch is the highness or lowness of musical sound.
4.HARMONY
 it is vertical which means when pitches are
combined to form chords. When several notes are
simultaneously played this refer to a chord.
 Harmony can be described in terms of harshness:
dissonance is the harsh-sounding combination
while consonance is the smooth-sounding
combination.
5.TIMBRE
 it is a quality that distinguishes a voice or an
instrument from another. Timbre may give a
certain tone or characteristics to music.
6.TEXTURE
 the number of melodies, the type of layers, and their
relatedness in a composition is the texture of music, it
can be:
 Monophonic –single melodic line
 ART APPRECIATION: GE6 HUM 101
MODULE 7 AND 8
Instructor: ROMA DELA FUENTE, LPT
 Polyphonic – two or more melodic lines 3 forms of balance:
 Homophonic – main melody accompanied by a. Symmetrical – the elements used on 1 side are
chords. reflected to the other. This offers the most stable visual
sense to any artwork.

b. Asymmetrical – the elements are not the same on

each side, putting heaviness on one side.

c. Radial – there is a central point in the composition,

around which elements and objects are distributed.
 Some elements may even be de-emphasized or
omitted altogether and can be isolated from each
other. However, as visual or musical compositions,
the combination of these element in art is what we
initially engage with.

2.SCALE AND PROPORTION

 Scales pertains to size in relation to what is normal
for the figure or object in question.
PRINCIPLES OF ART
 Proportion is the size of the components or subjects
 These principles will provide explicit ways in which in relation to one another when taken as a
these elements are used, how they are manipulated, composition or unit. This can also refer to value such
how they interact, and how they inform the overall as amounts or number of elements or objects in the
composition of the artwork to assist the artist in composition.
conveying his intention.

 It is the principles of art that influence the effect

achieved by the elements, and the linkages of other
principles. These principles are: balance, scale and
proportion, emphasis and contrast, unity and variety,
harmony, movement, rhythm, and repetition and
pattern.

1.BALANCE
– this refers to the distribution of the visual  Leonardo da
elements in view of their placement in relation to each Vinci’s “Vitruvian
other. Man” is an
exploration on the
ideas of the Roman
Red cube architect Vitruvius, in
the human body is an
“The Red Cube" by example of a classical
Artist Isamu proportion in
Noguchi. architecture. For da
Vinci, man’s body can
be used to better understand the symmetry that exists
in nature and the universe.
 The sculpture is located in front of 140 Broadway,
between Liberty and Cedar Streets.
 ART APPRECIATION: GE6 HUM 101
MODULE 7 AND 8
Instructor: ROMA DELA FUENTE, LPT
A. Natural – relates to realistic size of the visual elements establish the rhythm of the overall work. When an
in the artwork, especially for figurative artworks. When it is established pattern is broken, it can provide variety
the accuracy in relation to the real world that the artist is or dissonance for the audience.
after, this is now referred to as the principle of scale.

B. Exaggerated – refers to the unusual size relations of

visual elements, deliberately exaggerating the immensity or
minuteness of an object. In relation to this, there are
notions in scale that differentiate when an element is
smaller than expected (diminutive), and when something
appears to be larger than what is presumed (monumental).

C. Idealized – most common to those that follow canons

perfection, the size-relations of elements or objects, which
achieve the most ideal size-relations.

3. EMPHASIS
4. CONTRAST
 Emphasis allows the attention of the viewer to
a focal point(s), accentuating or drawing attention
to these elements or objects. This can be done
through the manipulation of the elements or through
assistance of other principles.
 Contrast is the disparity between the elements
that figure into the composition. This can be
done in many ways using the elements of art.
COMBINED OR HYBRID ART
 In combined art, improvisation is often tapped in
addition to practical and logical considerations of
creating an artwork. The artist is challenged to
deconstruct an idea or stimulus from which the
content, narrative, techniques, art forms, and styles
will take form

5. UNITY Example of combined art is a theatrical performance that

6. VARIETY
 Unity refers to compositions that are intended to
imbue a sense of accord or completeness
from the artwork.
 Variety, on the other hand is the principle that aims
to retain the interest by allowing patches on
areas that both exiles and allow the eye to
rest.
7. HARMONY
- when all elements are in agreement, a design is
considered unified. No individual part is viewed as more
important than the whole design. A good balance between
unity and variety must be established to avoid a chaotic or a
lifeless design.
taps into many art forms such as music, 2D and 3d art,
literature, lighting and set design.
 Hybrid art is another movement that is reminiscent
of the motivations of the Renaissance, and whose
emergence is hinged on the frontiers of science and
technology. Referencing and tapping into the fields of
robotics, artificial intelligence, biotechnology, natural
and computer sciences telecommunications,
information, digital and interface technologies
wherein artists work tread under this movement
disrupt the norms in terms what is considered as art.

8. MOVEMENT
– this refers to the direction of the viewing
eye as it goes through the artwork, often guided by areas
or elements that are emphasized. These focal points can be
lines, edges, shape, and color within the artwork .

9. RHYTHM
- this is created when an element is repeated,
creating implied movement. Variety of repetition helps SUMMARY
invigorate rhythm as depicted in the artwork.
The elements and principles of art are considered
10. REPETITION one of the most rudimentary stages in easing the
11. PATTERN meaningful experience with art. Familiarity with this
 Repetition refers to lines, shapes, colors, and building blocks of composition and formal analysis will aid
other elements may appear in an artwork in the viewer in his/her attempt to come into terms with the
recurring manner. intention of the artist.
 Patterns happen when an element recurs or
repeats throughout the artwork. Pattern
 ART APPRECIATION: GE6 HUM 101
MODULE 7 AND 8
Instructor: ROMA DELA FUENTE, LPT