VISUAL ARTS

ELEMENT
•A part oraspect of something abstract,
especially one that is essential or
characteristic
•What happens to the medium after the
techniques are applied
 WARM
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Identify: Visual, Auditory or Performance arts

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 VISUAL ARTS
• Art forms that create works that are primarily visual in nature

• Ceramics, drawing, painting, sculpture, printmaking, design,

crafts, photography, video, film making and architecture.

Applied Arts
- Industrial design, graphic design, fashion design, interior design
and decorative art.
VISUAL ARTS

Fine Arts
Contemporary Arts
Decorative Arts
Others
 Fine Arts
DRAWING

PAINTING
Fine Arts
SCULPTURE

PRINTMAKING
CONTEMPORARY ARTS
PHOTOGRAPHY

VIDEO ART
DEC ORATIV E
A RTS

CERAMICS

POTTERY
TATTOO ART
Others

FACE PAINTING BODY PAINTING

 ELEMENTS OF VISUAL ARTS
LINE
Always has direction
 LINE
-Man as learned that certain emotional states find expression in
definite positions.
Classifications of Lines
1. Straight Line- lacks softness and flexibility
- Horizontal

- Vertical
- Diagonal
Classifications of Lines

Horizontal
reclining persons, landscape, calm
bodies of water, horizon
distance and calm
Classifications of Lines

Vertical
suggest poise, balance, force,
aspiration, and dynamism
Height and strength
Classifications of Lines
Diagonal
- Depicts life and movement
2. Curved Line
- Suggest grace, subtleness, direction,
instability, movement, flexibility,
joyousness
Crooked or Jagged Lines
- Suggest turmoil and anxiety
1. Lines which follow or repeat
one another
2. Lines which contrast with one
another
3. Transitional lines which modify
or soften the effect of others.
Tomek Popakul’s Annie Award-nominated animated
short film, ‘Acid Rain.
ENGINEERING STUDENTS BE LIKE:
ENGINEERING STUDENTS BE LIKE:
The way we draw a line can convey
different expressive qualities:
• Freehand lines can express the personal energy and mood of the artist
• Mechanical lines can express a rigid control
• Continuous lines can lead the eye in certain directions
• Broken lines can express the ephemeral or the insubstantial
• Thick lines can express strength
• Thin lines can express delicacy
 Line as Tone and Form

HENRY MOORE (1898-1986)

Sheep, 1972 (intaglio print on paper)
 Line as Texture

PETER DOIG (1959-)

The Architects Home In The Ravine,
1991 (oil on canvas, 200x275cm.)
Line as Structure

ROBERT DELAUNEY (1885-1941)

Eiffel Tower, 1910 (oil on canvas)
Line as Movement

KATSUSHIKA HOKUSAI (c.1760-

1849)
The Great Wave off Kanagawa,
1823–29 (woodblock print from '36
Views of Mount Fuji')
Line as Emotion

PABLO PICASSO (1881-1973)

Weeping Woman, 1937 (oil on canvas)
Line as Energy

REMBRANDT VAN RIJN (1606-

1669)
Two women teaching a child to
walk, c.1635-37 (red chalk on
paper)
Line as Form

ALEXANDER CALDER (1898-1976)

Edgar Varèse and Unknown Man,
1929-30 (wire sculpture)
Line as Abstraction

PABLO PICASSO (1881-1973)

Bull - plate 11, January 17 1946
(lithograph)
 SHAPE
The Perspective of Shapes: The Behavior of Shapes:

Squares and Rectangles can portray strength

The angles and curves of shapes and stability
appear to change depending on our Circles and Ellipses can represent continuous
viewpoint. The technique we use to movement
describe this change is Triangles can lead the eye in an upward
called perspective drawing. movement
Inverted Triangles can create a sense of
imbalance and tension
Two Dimensional Shapes

M. C. ESCHER (1898-1972)
Reptiles, 1943 (lithograph)
Three Dimensional Shapes

ANTHONY CARO (1924-2013)

Paul's Turn, 1971 (cor-ten steel)
Representational Shapes

• HARMEN STEENWYCK
(1612-1656)
'Still Life: An Allegory of
the Vanities of Human
Life', 1640 (oil on oak
panel)
Abstract/ Non-
Representational
Shapes

PAUL CÉZANNE (1881-1973)

Still Life with a Peach and Two Green
Pears, 1883-87 (oil on canvas)
PIET MONDRIAN (1872-1944)
Broadway Boogie Woogie, 1942-43 (oil
on canvas)
 Positive and Negative Shapes

STUART DAVIS (1892-1964)

Colonial Cubism, 1954 (oil on canvas)
 Geometric Shapes

AL HELD (1928-2005)
"S-E" 1979 (84"x84", acrylic on canvas)
 Organic Shapes

GRAHAM SUTHERLAND (1903-1980)

Pastoral, 1930 (etching)
Symbolic and Decorative
Shapes

EADFRITH, BISHOP OF LINDISFARNE (died 721)

'Illuminated Ornamental Cross', 715-721,
Lindisfarne Gospels
Transparent, Reflective
and Opaque Shapes

RICHARD ESTES (b. 1932)

Donohue's, 1967 (oil on masonite)
The Perspective of Shapes

WAYNE THIEBAUD (1920-)

Around the Cake, 1962 (oil on canvas)
 TONE
defines the lightness or darkness of a color. The tonal values of an artwork
can be adjusted to alter its expressive character.

Tone can be used:

• to create a contrast of light and dark.
• to create the illusion of form.
• to create a dramatic or tranquil atmosphere.
• to create a sense of depth and distance.
• to create a rhythm or pattern within a composition.
 Tone As the Contrast of Light and Dark
 
JUAN SANCHEZ COTAN (1560-
1627)
Quince, Cabbage, Melon and
Cucumber, 1602 (oil on canvas)
• CARAVAGGIO (c.1527-
1610)
Basket of Fruit, 1595-96
(oil on canvas)
Tone as Form
• ALBRECHT DÜRER (1471-1528)
Old Man aged 93, 1521 (brush drawing on
paper primed with color)

STANLEY SPENCER (1891-1959)

Self Portrait, 1914 (oil on canvas)
HAROLD COHEN (b. 1928)
Richard V, 1967 (silkscreen on
paper)
Tone as Drama

PABLO PICASSO (1881-1973)

Guernica, 1937 (oil on canvas)
Tone as Tranquility

JEAN FRANÇOIS MILLET (1814-1875)

The Angelus, 1857-59 (oil on
canvas)
Tone as Depth and
Distance

CHARLES SHEELER (1883-1965)

Canyons, 1951 (oil on canvas)
 COLOR
• has the strongest effect on our emotions. It is the
element we use to create the mood or atmosphere of an
artwork.
 COLOR COMBINATIONS
Complementary
Two colors that are on opposite sides of the
color wheel. This combination provides a high
contrast and high impact color combination –
together, these colors will appear brighter
and more prominent.
MONOCHROMATIC
Three shades, tones and tints of one
base color. Provides a subtle and
conservative color combination.
This is a versatile color combination
that is easy to apply to design
projects for a harmonious look.
ANALOGOUS
Three colors that are side by side on
the color wheel. This color
combination is versatile, but can be
overwhelming. To balance an
analogous color scheme, choose one
dominant color, and use the others as
accents.
TRIADIC
Three colors that are evenly
spaced on the color wheel. This
provides a high contrast color
scheme, but less so than the
complementary color
combination — making it more
versatile. This combination
creates bold, vibrant color
palettes.
TETRADIC
Four colors that are evenly spaced on
the color wheel. Tetradic color
schemes are bold and work best if you
let one color be dominant, and use
the others as accents. The more
colors you have in your palette, the
more difficult it is to balance
Shade
A shade is created by adding black to a base hue,
darkening the color. This creates a deeper, richer
color. Shades can be quite dramatic and can be
overpowering.
Tint
A tint is created by adding white to a base hue,
lightening the color. This can make a color less
intense, and is useful when balancing more vivid
color combinations.
Tones
A tone is created by combining black and white—
or grey—with a base hue. Like tints, tones are
subtler versions of the original color. Tones are less
likely to look pastel, and can reveal complexities
not apparent in the base color.
Hue is any color on the color
wheel. When you are using a color
wheel or a color picker, you can
adjust the saturation and
luminance of a hue.
Saturation is the intensity or purity
of the color.
Luminance is the amount of
brightness or light in a color.
 Color as Light
• Color is the sensation that is stimulated in
our brain by different wavelengths of light.
One wavelength will stimulate our
perception of red, another orange, another
yellow and so on through all the colors of
the spectrum.

GIACOMO BALLA (1871-1958)

Street Light, 1909 (oil on canvas)
RENÉ MAGRITTE (1898-1967)
Empire of Light, 1954 (oil on canvas)
 Color as Tone

EMILE NOLDE (1867-1956)

Lake Lucerne, 1930 (watercolor on
vellum)
 Color as Pattern

JUAN GRIS (1887-1927)

Violin and Checkerboard, 1913 (oil on canvas)
Color as Form

ANDRÉ DERAIN (1880-1954)

Portrait of Matisse, 1905 (oil on canvas)
Color as Harmony

EDGAR DEGAS (1834-

1917)
Blue Dancers, 1899
(pastels)
 Color as Movement

VICTOR VASARELY (1906-1997)

Vonal KSZ, 1968 (silkscreen print)

• Separation of Color Progressions in Vonal KSZ, 1968 (silkscreen print)

Color as Contrast

JOSEPH MALLORD WILLIAM

TURNER (1775-1851)
The Burning of the Houses of
Lords and Commons, 1835 (oil on
canvas)
Color as Symbol

VINCENT VAN GOGH (1853-1890)

The Potato Eaters, 1885 (oil on
canvas)
Color as Mood - Joy

VINCENT VAN GOGH (1853-1890)

Sunflowers, 1888 (oil on canvas)
 Color as Mood - Sadness

PABLO PICASSO (1881-1973)

The Old Guitarist, 1903-04 (oil on panel)
Color as Mood - Sadness

GUSTAV KLIMT (1862-1918)

Isle on Lake Attersee, 1902 (oil on canvas)
Color as Mood – Anxiety

EDVARD MUNCH (1863-1944)

The Scream, 1893 (oil, tempera
and pastel on cardboard)

"I was walking along the road with two friends.

The sun set. I felt a tinge of melancholy.
Suddenly the sky became a bloody red. I
stopped, leaned against the railing, dead tired.
And I looked at the flaming clouds that hung
like blood and a sword over the blue-black
fjord and city. My friends walked on. I stood
there, trembling with fright. And I felt a loud,
unending scream piercing nature."
Color as Mood - Noise

GINO SEVERINI (1883-1966)

The Dance of the Pan-Pan at the
Monico, 1909-1911/1959-1960
(240cm x 400cm, oil on canvas)
 PATTERN
• repeating or echoing the elements of an artwork to communicate a sense of
balance, harmony, contrast, rhythm or movement.

TWO BASIC TYPES

Natural Pattern: Pattern in art is often based on the inspiration we get from
observing the natural patterns that occur in nature.
Man-Made Pattern: Pattern in art is used for both structural and decorative
purposes.
Natural Pattern

RORY MCEWEN (1932-1982)

Kensington Gardens 1, 1979
(watercolor on vellum)
 Man-Made Pattern

WILLIAM MORRIS (1834-1896)

Pencil and Watercolor Sketch for
Acanthus Wallpaper Pattern, 1874-
75
Pattern as Landscape

PIET MONDRIAN (1872-1944)

Farm Near Duivendrecht, 1907 (oil on
canvas)

DAVID HOCKNEY (b. 1937)

The Road Across The Wolds,
1997 (oil on canvas)
Pattern as Environmentalism

ANDREW GOLDSWORTHY (b. 1956)

Rowan Leaves Laid Around Hole, Yorkshire
Sculpture Park, 25 October 1987
(photograph)

FRIEDENSREICH HUNTERWASSER (1928

- 2000)
Irinaland Over The Balkans, 1969
(mixed media)
Pattern as Contrast

M.C. ESCHER (1898-

1972)
Day and Night,
1938 (woodcut)

RICHARD ESTES
(b1932)
Telephone
Booths, 1968 (oil
on canvas)
Pattern as Repetition

BRITISH SCHOOL
(Jacobean Era)
The Cholmondeley
Ladies, c.1600-10 (oil on
wood panel)
ANDY WARHOL (1928-
1987)
Marilyn, 1967 (a portfolio
of ten silkscreen prints)
 Patter as Decoration

RENÉ MAGRITTE (1898-1967)

L'Avenir des Statues (The Future of Statues), 1932
(oil on plaster head)

GUSTAV KLIMT (1862-1918)

Portrait of Adele Bloch-Bauer 1,
1907 (oil and gold leaf on panel)
 TEXTURE
• defines the surface quality of an artwork - the roughness or smoothness of the
material from which it is made.

Three Ways
• Optical Texture
• Physical Texture
• Ephemeral Texture

JAN VAN HUYSUM (1682-1747)

Detail of Bouquet of Flowers in an Urn, 1724 (oil on canvas)
 Optical Texture
JAN VAN HUYSUM (1682-1747)
Bouquet of Flowers in an Urn, 1724 (oil on
canvas)

DAVID HOCKNEY(b.1937)
A Bigger Splash, 1967 (acrylic on canvas)

DUANE HANSON (1925-1996)

Man on a Bench, 1977 (vinyl,
polychromed in oil, with accessories)
Photo: Metropilot©
 Physical Texture
VINCENT VAN GOGH (1853-1890)
Self Portrait, 1889 (oil on canvas)
KARL SCHMIDT-ROTTLUFF (1884-1976)
Self Portrait, 1906 (oil on canvas)
MAX ERNST(1891-1976)
The Entire City, 1935-36 (oil
on canvas)
Form
• Relates to the physical volume of a shape and the space that it occupies.

• Three- Dimensional
• Two Dimensional
 Form as Carving
ANCIENT EGYPYIAN RELIEF CARVING
Pharaoh with Royal Uraeus Crown, 3rd
Century B.C. (Limestone)

STONE CARVING

AGESANDER, POLYDORUS, and ATHENODORUS (1st

Century B.C.)
Laocoön and his Sons, circa 42-20 B.C. (marble)
WOOD CARVING

HENRY MOORE (1898-

1986)
Reclining Figure, 1936
(elm wood)
Form as Modelling and Casting

AUGUSTE RODIN (1840-1917)

Call to Arms (detail of foot), 1878 (Cast Bronze)
 Form as Construction

NAUM GABO (1890-1977)

Head No.2, 1916 (Cor-ten sheet steel - copy
of cardboard original)

DAVID SMITH (1906-1965)

Cubi XII, 1963 (stainless steel)
Form as Light and Space
• JAMES TURRELL (b. 1943)
Skyspace, 2004 (light installation)
Form as Land Art
ROBERT SMITHSON (1938-1973)
The Spiral Jetty, 1970 (6650 tons of
mud, salt crystals and black basalt
rocks)
Form as Kinetic Art

ALEXANDER CALDER (1898-1976)

Six Dots over a Mountain, 1956
(painted steel)
Photo: © Gryffindor
ACTIVITY 1
Choose an artwork (painting, drawing, sculpture, architecture, any visual art) and
identify at least three elements present. Write an explanation regarding the usage
of the said element in the artwork.
Format: Upload image of the artwork in our FB group with the explanation as caption

Rubrics: (5 points each)

ACTIVITY 2
Create a line drawing incorporating the straight lines (i.e. horizontal, vertical, and
diagonal) and curved lines (crooked or jagged).
Include your signature in your artwork, take a photo of it, and include it in your
Activity 1 post.