Line and Kinds of Line

Lesson 1
What is a Line?

✔It is a path made by a moving point

✔a series of dots

✔A prolongation of points or according to Paul Klee is a dot

that went for a walk.
KINDS OF LINE
❑ Straight lines are geometric, impersonal
and differ in the direction that they take.

▪ Horizontal lines - move from left to right

or vice versa. It is a line that appears to
be laying down.

▪ Vertical Line - start from bottom to top

or vice versa. It is a line that appears to
be standing.
▪ Diagonal lines - are slanting lines.

❑ Zigzag lines - Are angular lines that

resulted in abrupt change in the
direction of a straight line thus forming
angles.

❑ Curved lines - are technically curvilinear

lines.
Let's watch this video:

https://youtu.be/DQEVllmeWH4
Properties of Color and
How Colors Relate and
Light and Shadow
Lesson 2
What is Color?

Color is the property of light. So when light goes out, color

goes with it. Color is composed of a series of wavelengths
which strike the retina of the eyes.
Properties of Color
❑Hue - It is the name given to the color, for example; red, green, violet and blue.

▪ For pigments, RED, YELLOW and BLUE are called Primary Hues. They are considered
primary because these hues cannot be produced from combining any hues.

▪ When two primary hues are mixed in equal amounts, Secondary Hues are produced.
These are ORANGE, GREEN and VIOLET.

▪ Mixing equal amounts of the primary and secondary hues produces Intermediate
Hues which are RED ORANGE, BLUE GREEN and BLUE VIOLET.

▪ Combining in equal mixture any two secondary hues produces the Tertiary Hues.
❑Value - refers to the lightness or darkness of a color. The
value of any hues can be changed by adding a neutral
such as black or white. This results in changing the
quantity of light the hue reflects.

▪ Shade - When black is combined with hue.

▪ Tint - When white is added with hue.

❑Intensity - denotes the brightness or dullness of a color. It gives
color its strength. Colors differ in intensity or vividness.

▪ Hues become less intense (dull) when white is added because

color becomes lighter in value.

▪ The hues’ intensity diminishes when black is added and as the

value darkens.

▪ If gray is added, the result will be a variation in intensity

without any change in value.
How Colors
Relate?
Color Temperature - refers to the relative warmth or
coolness of a color. Warm colors are colors that have
YELLOW as its dominant component white cool colors have
blue as their dominant component.

Color Harmony is one method of establishing color quality

in a composition. There are several ways of creating
harmony that an artist can use. The most common are the
following:
❑Monochromatic harmony - When a
single color in the composition is
varied in intensity and value by adding
white or black.

❑Complementary Harmony - results

when two colors that are opposite
each other in the color wheel are
placed side by side.
❑Analogous harmony - results when hues
that are adjacent or beside each other in
the color wheel is used in a composition.
Light and Shadow
(Value)
❑Light and shadow focuses on what is known as
achromatic value. This refers to the changes in the
amount of reflected light which ranges from black to gray
to white and vice versa.

❑Chiaroscuro is the technique of manipulating light and

shadow in painting. Masters who have perfected the use
of this technique are Da Vinci, Michelangelo, Rembrandt,
and Caravaggio.
In the local scene,
Fernando Amorsolo,
also mastered
chiaroscuro, but his
focus was more on
the manipulation of
light rather than
shadow.
Shape and Classification
of Shapes

Lesson 3
What is Shape?

Shapes - In visual arts, a shape is formed when two ends of a line

meet to enclose an area. The area may stand out from the surface
because of a difference in color, value or texture. They may also
present themselves as flat or two-dimensional and solid or three
dimensional on a picture plane.

Picture plane - any flat surface onto which the artwork is created.

Negative shapes - these are between the shapes that are not
occupied by any form.
Classification of Shapes
❑Natural or organic shapes - those are seen in nature like the
shape of leaves, animals, mountains, flowers and seashells.

❑Abstract shapes - those that have little or no resemblance to

natural objects.

❑Non-objective or biomorphic shapes - seldom have reference to

recognizable objects, but most often show a similarity to some
organic forms.

❑Geometric shapes - these are triangles, rectangles, squares,

cylinders, cubes.
Texture, Methods of
Creating Space and
Movement
Lesson 4
❑Texture - refers to the feel or tactile quality of the surface of an object. It
has to do with the characteristic of the surface, whether it is rough or
smooth, fine or coarse, polished or dull, plain or irregular. They also add
richness and vitality in paintings.

❑Visual texture - in such cases where touching the artwork is not allowed,
textured can be perceived by the eyes.

❑Space - An illusion in the graphic arts. It is created by techniques that add

depth and distance to two-dimensional art. In sculpture and architecture,
however, space is actually present.
Methods of Creating
Space
❑Overlapping planes (interposition) - create space when an
object covers a part of another object which is behind it.

❑Relative size - objects that appear large/big indicate nearness

and small-sized objects as distant. Aside from creating the
illusion of space, this can also be interpreted as power and
import.

❑Position on the picture plane (relative height) - In some

paintings, spatial representation is based upon the position of
objects relative to the bottom of the frame.
❑Those objects found at the bottom of the frame will
appear closer to the viewer. Farther distances are
indicated by the positions of the objects higher on the
picture plane. The point of reference is the horizon line
which is the line at the eye level. A picture plane can be
divided into three parts;

▪ Foreground - the bottom part.

▪ Middle ground - where the horizon is.
▪ Background - the topmost part.
❑Color is also used to give
the illusion of distance.
Warm colors advance
and make objects look
closer while cool colors
recede making objects
look farther away.
❑Perspective - deals
with the effect of
distance on the
appearance of objects.
It enables the viewer to
perceive distance and
to see the position of
objects in space.
❑Linear perspective - give the perception distance by
means of converging lines. It has to do with the direction
of lines and with the size of objects.

❑Aerial perspective (gradient) - the effect of haze, mist or

atmosphere on the object. Near objects are seen in detail
with the full intensity of color and as objects recede,
details are lost and objects appear grayer.
❑Space in sculpture may be viewed in two ways: it may be
considered a single solid object or an assemblage of solids
that exhibits space; or space may be perceived as it
enters into relations with its surroundings － extending into
it, enveloping it, or relating across it.

❑Space in architecture is created and defined by the

shape, position, and the materials employed by the
architect.
What is Movement?

❑ Over the years, artists of the visual arts have manipulated the medium and elements?
order to portray motion in their artworks. They have also experimented on which
techniques to employ to be able to incorporate in their works the perception of
movement.

Two ways to present motion or movement in their art

▪ Actual movement - in art, specifically in sculptures results in kinetic art. Actual

movements may be achieved naturally using wind and water or mechanically through
some energy source (batteries or electricity).

▪ Implied movement - results when a variety of lines are used together, repeated,
change in position, or decreased/increased in size. This gives the impression of
movement in a stationary two dimensional art.
ELEMENTS OF
DRAMA
ELEMENTS OF
THEATRE
PRINCIPLES OF
DESIGN
(CARILLO,
PART 11)
DARYL KAYE G.
 The principles of design describe
the ways in which an artist has used
or can use the elements of art to
create beautiful compositions.

(GRIEDER 1996)
BALANCE
It is the distribution of the visual
weight of objects, color, texture and
space. The use of these elements should
be balanced tomake the viewers see and
feel design as stable.
THREE TYPES OF
BALANCE
01
SYMMETRICAL
BALANCE
Results when the
elements used onone side
of thedesign are similar to
those on the other side.
02
ASSYMETRICAL
BALANCE
is when the sides of the
composition are
different but still looked
balanced.
03
RADIAL BALANCE
Is achieved when the
elements are arranged around a
central point. Elements may
exhibit similarities as they
spread around the central point.
 EMPHASIS

It is the part of the design

that catches the viewer's
attention. The artist will
usually make one area stand
out by contrasting it
with other areas.
 MOVEMENT

It is the path the viewer's

eye takes when looking
through the work of art. Such
movement can be implied
along lines edges, shape, and color
within the work of art.
 PATTERN

It is the repetition of
objects, shapes,lines, or
symbols all over the space
or picture plane.
PROPORTION
It is the feeling of unity
created when all parts
relate well with each other.
Repetition It works with
patterns to make the work
 REPETITION
It works with patterns to
make the work seem active.
The repetition of elements of
design creates unity within
the artwork.
 RHYTHM
It is created when one or more
elements of design are used repeatedly
to produce a feeling of organized,
continuous,sometimes flowing
movement. To keep rhythm exciting
and active,variety is important.
 VARIETY
It is the use of several
elements of design that adds
interest in order to hold the
viewer's attention and guide
the viewer’s eye through and
around the work of art.
 UNITY
It is the feeling of harmony
between and among the parts of
the work of art, which creates a
feeling of completeness in the
composition.
THANKYOU FOR
LISTENING!!
PREPARED BY:
CARILLO, DARYL KAYE G.
BSED-FILIPINO 2101
THE RULE OF THIRDS
AND THE SEVEN DA
VINCIAN PRINCIPLES
REYES, R-LAN JOY N.
BSED-FIL 2101
THE RULES
OF THIRD
 The Rules of Third
•The rule of thirds posits that a visual
composition is most pleasing to the eye when
its compositional elements conform to an
imaginary set of lines that divide the frame into
equal thirds, both horizontally and vertically.

•The surface with two equally spaced vertical

lines and two equally spaced horizontal lines.

•These lines divide the picture plane into nine

equal parts with four intersecting points.

THE RULES OF THIRD

 The Rules of Third
•Based on studies, placing an object in
one of the intersecting results in a
pleasing composition.

•Balance is achieved by placing another

object at the point opposite the first
one.

THE RULES OF THIRD

 The Rules of Third
•The major function of the Rules of
Third is to serve as a guide for visual
artist on the paper placement of their
subjects on the picture plane to achieve
a more interesting composition. Placing
the subject at the center does not
provide enough interest for viewers to
be able to appreciate the work.

THE RULES OF THIRD

 SEVEN DA
VINCIAN PRINCIPLES
 Curiosità
An insatiably curious
approach to life and
an unrelenting quest
for continuous
learning.

7 DA VINCIan principles 97
 Dimostrazion
is the commitment to test
knowledge through
mistakes.

7 DA VINCIan principles 98
 Sensazione
The continual refinement of
the senses, especially sight,
as the means to enliven
experience.

7 DA VINCIan principles 99
 Sfumato
A willingness to embrace
ambiguity, paradox,
uncertainty.

7 DA VINCIan principles 100

 Arte/Scienza
The development of the
balance between science
and art, logic imagination…
“whole brain” thinking.

7 DA VINCIan principles 101

 Corporalita
The cultivation of grace,
ambidexterity, fitness, and
poise.

7 DA VINCIan principles 102

 Connessione
A recognition and
appreciation for the
interconnectedness of all
things and phenomena…
systems thinking.

7 DA VINCIan principles 103

 THANK
YOU
R-LAN JOY N. REYES
BSED-FIL 2101

PRESENTATION TITLE 104