BAAO COMMUNITY COLLEGE

San Juan, Baao, Camarines Sur

Email add: baaocommunitycollege@gmail.com
College of Education

PAINTING

JESUS B. RANCES, LPT MARICON B. RANCES, LPT

Instructor, Baao Community College Instructor, Baao Community College
ELEMENTS OF VISUAL ARTS
A work of art can be analyzed by considering a variety
of aspects of it individually. These aspects are often called
the elements of art. A commonly used list of the main
elements includes form, shape, line, color, value, space,
texture and perspective. The list can also be shortened to
just five elements consisting of line, form, texture, colour
and pattern.
LINE
 Line is the foundation of all drawing. It is the first and
most versatile of the visual elements of art.
 Line can convey emotion as well. They may show
excitement, anger, calmness, tension, happiness and
many other feelings. Because of this, some are said to be
expressive.
 Line is the path of a moving point through space. It may
indicate direction, texture, contours, or movement.
HORIZONTAL LINES
 A horizontal line is one the goes left-to-right, parallel to
the x-axis of the coordinate plane.
 are lines repose and serenity. Horizontal lines are
generally restful, like the horizon, where the sky meets
land.
 relaxation, calmness, at peace, laziness.
VERTICAL LINES
 vertical line is one the goes straight up and down, 
parallel to the y-axis of the coordinate plane. All points
on the line will have the same x-coordinate.
 are lines that denote action. They suggest poise,
balance, force, aspiration, exaltation, and dynamism.
 power, stability, strength.
DIAGONAL LINES
 suggest action, life, and movement. Almost every object
in action assumes a diagonal line.
 is a line segment joining two vertices of a polygon or 
polyhedron, when those vertices are not on the same 
edge. Informally, any sloping line is called diagonal.
CURVED LINES
 suggest grace, subtleness, direction, instability,
movement, flexibility, joyousness, and grace.
 curve (also called a curved line in older texts) is,
generally speaking, an object similar to a line but that
need not be straight.
CROOKED OR JAGGED LINES
 Lines which follow or repeat one another
 Lines which contrast with one another
 Transitional lines which modify or soften the effect of
others.
COLOR
 can add interest and reality to artwork.
 Has the most aesthetic appeal of all the elements of
visual arts.
 is the characteristic of human visual perception described
through color categories, with names such as red, 
orange, yellow, green, blue, or purple.
 the complexion of the painting.
THREE DIMENSIONS OF
COLOR
1. HUE
2. VALUE
3. INTENSITY
HUE
 a color or shade
 is a quality which gives color its name. The color of the
spectrum are therefore called hues.
 refers to the color quality of the light and corresponds to
the color names that we use, such as orange, purple,
green, indigo, yellow, cyan, aquamarine, etc. In fact, hue
is the quality of color.
VALUE
 the lightness or darkness of tones of colors.
 Value makes objects appear more real because it
imitates natural light.
 They give the expression of depth and solidity and lend
form to paintings.
INTENSITY
 a property of color which gives strength and vividness.
 is the strength of the color’s hue. Brightness or dullness
of color.
 (chroma or saturation) refers to the brightness or
darkness of a color. It gives color strength.
COLOR HARMONIES: RELATED COLOR
HARMONIES AND CONTRASTED COLOR
HARMONIES
 RELATED COLOR
HARMONIES
 Monochromatic harmony uses various values (tints,
tones, and shades) within the
same color family. Analogous harmonies are based
on three or more colors that sit side-by-side on
the color wheel. Complementary colors (or Direct
Complementary) are those that appear opposite each
other on the color wheel.
 CONTRASTED COLOR
HARMONIES
 Virtually all color harmonies (except Analogous) are a
variation of the direct harmony. It is the reason the
wheel exists as opposed to a different kind of chart. The
high contrast of complementary colors creates a
vibrant look especially when used at full saturation but
can be jarring if not managed properly
5 TYPES OF HARMONY
1. Direct Harmony: This is the most basic harmony. It is
a point opposite to the key color on the wheel. This
“opposite” color is referred to as the complementary color
and thus the direct harmony can also be called
the complementary harmony. 
5 TYPES OF HARMONY
2. Split Complementary: Rather than the point
opposite the key color on the wheel, the split
complementary takes the two colors directly on either side
of the complementary color. 
5 TYPES OF HARMONY
3. Triadic Harmony: Also called Triadics or Triads. This
refers to the color two spaces to either side of the key
color’s complement.
5 TYPES OF HARMONY
4. Analogous Harmony: Also referred to as related
colors, these are the colors directly on the left and right of
your key color. 
5 TYPES OF HARMONY
5. Tetradic Harmony: Similar to the Triadic, except that
there are four points, all equally distanced on the color
wheel.
TEXTURE
 is the way the surface of an object actually feels.
 It is the perceived surface quality of a work of art.
 Use of texture, doing with other elements of design, can
convey a variety of messages and emotions.
 the quality produced by the arrangement, treatment, or
handling of a medium or material.
TEXTURE
 is the perceived surface quality of a work of art. It is an
element of two-dimensional and three-dimensional
 designs and is distinguished by its perceived visual and
physical properties. Use of texture, along with other
elements of design, can convey a variety of messages
and emotions.
 In the artistic world, we refer to two types of texture
tactile and implied.
TWO TYPES OF TEXTURE
 Tactile (or Real) Texture is the way the surface of an
object actually feels. Examples would be sandpaper,
cotton balls, tree bark, puppy fur, etc.
 Implied Texture is the way the surface of an object
looks like it feels. This is the type of texture that artists
use when they draw and paint. Textures may look rough,
fuzzy, gritty, or scruffy, but can’t actually be felt.
PERSPECTIVE
 is also a way of showing space in a work of art.
Perspective is when the artist uses a vanishing point on
the horizon and then creates a sense of deep space by
showing objects getting progressively smaller as they get
closer to the vanishing point.
 the formation of an image in a picture plane of a scene
viewed from a fixed point, and its modelling in geometry.
 the art of representing three dimensional objects on a
flat surface.
TWO KINDS OF PERSPECTIVE
LINEAR PERSPECTIVE
 is the representation of an appearance of distance by
means of converging lines.
 A system of creating an illusion of depth on a flat
surface. All parallel lines (orthogonal) in a painting or 
drawing using this system converge in a single 
vanishing point on the composition’s horizon line.
 type of perspective used by artists in which the relative
size, shape, and position of objects are determined by
drawn or imagined lines converging at a point.
TWO KINDS OF PERSPECTIVE
AERIAL PERSPECTIVE
 is the representation of relative distances of objects by
gradations of tone and color.
 or atmospheric perspective refers to the effect the
atmosphere has on the appearance of an object as it is
viewed from a distance.
 the technique of representing more distant objects as
fainter and more blue.
SPACE
 can be positive (white or light) or negative (black or
dark), shallow or deep, depending on what the artist
wants to use.
Shallow space is used when the artist has objects very
close to the viewer.
Deep Space may show objects up close but objects are
shown far away too.
FORM
 applies to the overall design of a work of art. It describes
the structure or shape of an object.
 is the shape, visual appearance, or configuration of an
object. In a wider sense, the form is the way something
is or happens.
 the relationship of the parts of a work of art in the
organization of the whole.
TYPES OF FORM
1. Regular Forms
2. Irregular Forms
3. Centralized Forms
4. Linear Forms
5. Radial Forms
6. Grid Forms
REGULAR FORMS
 Regular forms are those whose parts are related another
in a consistent, orderly manner.
IRREGULAR FORMS
oIrregularforms are those whose parts are dissimilar and
unrelated to one another.
CENTRALIZED FORMS
 Centralizedforms consists of a number of secondary
forms clustered to produce a dominant, central and
parent form.
LINEAR FORMS
oLinear forms are arranged sequentially in a row or a
series of forms along in a line.
RADIAL FORMS
 Radial
forms compositions of linear form that extend
outward from central form in a radial form.
GRID FORMS
 Gridforms are modular forms whose relationships are
regulated by 3-dimensional grid.
VOLUME
 refers to the amount of space occupied in three
dimensions.
 Volume is the primary concern of architects because a
building always encloses a space.
 Volume is an independent quarterly magazine that sets
the agenda for architecture and design.
PRINCIPLES OF ART DESIGN
1. Harmony
2. Rhythm
3. Balance
4. Proportion
5. Emphasis
HARMONY
 Harmony the arrangement of elements to give the viewer
the feeling that all the parts of the piece form a coherent
whole.
 In color theory, color harmony refers to the property that
certain aesthetically pleasing color combinations have.
These combinations create pleasing contrasts and
consonances that are said to be harmonious.
 creates a sense of togetherness among separate parts.
RHYTHM
 RHYTHM (movement) the use of recurring elements to
direct the movement of the eye through the artwork.
 Rhythm dictates the recurring or organized/disorganized
distribution of visual elements throughout a image.

 is created by movement implied through the repetition of

elements of art in a non-uniform but organized way.
BALANCE
 Balance refers to the visual weight of the elements of the composition. It is a sense that
the painting feels stable and “feels right”. Imbalance causes a feeling of discomfort in
the viewer.
 refers to the visual weight of the elements of the composition.
 Balance is used to illustrate the visual weight of an image. It can either unite a
photograph or create division. You can achieve balance in three ways:
 Symmetry – both sides of an image reflect the same subject matter, like a mirror image.
 Asymmetry – contrasting elements balance the image. For example, a highly textured
surface on one side of an image, counterbalanced by a smooth, matte surface on the
other.
 Radial symmetry – elements spaced equally around a central point, like spokes on a
wheel.
PROPORTION
 Proportion (scale) the ratio of one art element to another. It is
important to keep in mind the relationship between different
elements of the composition so that the scale of artwork always
makes visual sense.
 Proportion is a central principle of architectural theory and an
important connection between mathematics and art. It is the visual
effect of the relationships of the various objects and spaces that
make up a structure to one another and to the whole. These
relationships are often governed by multiples of a standard unit of
length known as a "module".
 relationship of two or more elements in a composition and how they
compare to one another.
EMPHASIS
 EMPHASIS is when the artist creates an area of the composition
that is usually dominant and commands the viewers attention. This
is often achieved by contrast.
 Emphasis shapes the centre of interest in an image. Colour, space,
texture and line work together to determine the focus of an image.
There are many ways to create emphasis in a photograph. Spacial
emphasis involves the orientation of a subject within the 
photographic frame.
 is when the artist creates an area of the composition that is visually
dominant and commands the viewer’s attention.
THE DEVELOPMENT OF
PAINTING
 PRE-HISTORIC PAINTING
(40,000 BC - 9000 BC)
Animal spear and other rudimentary materials were
utilized to produce pre-historic paintings. These works of
art were drawn on caves, stones, and on earth-filled
ground. The drawings or illustrations dealt heavily with
hunting and employed stylistic treatment.
 PRE-HISTORIC GREEK
PAINTING
Pre historic Greek Art was seen in four periods:
1. Formative or Pre-Greek Period – motif was sea and
nature.
2. First Greek Period – largely of Egyptian influence
3. Golden Age (480 – 400 BC) – period in which
aesthetic ideal is based on the representation of human
character as an expression of a divine system.
 PRE-HISTORIC GREEK
PAINTING
4. Hellenistic Period (4th century – 1st BC) – discussed
heightened individualism and featured tragic mood and
contorted faces (Lacaustic Painting)

The subject matters of painting in pre-historic Greece

were young wide males, draped females, wounded
souldiers, and scences from everyday life.
 PRE-HISTORIC ROMAN
PAINTING
Pre-historic Roman Art encompassed two periods:
1. Etruscan period (2000-1000 BC) - the subject matters
of paintings were ancestor worship, catacombs, and
sarcophages.
2. Roman Period (2000 BC - 400 AD) – characterized by
commemorative statues, sarcophages, frescoes, and design
with vine motifs.
Art in these periods served the cult of ancestor and defied
emperors.
 PAINTING IN MEDIEVAL
PERIOD
There were three art classifications during the Medieval
Period.
1. Early Christian Art – Subject matters of art in this
period were symbols: cross, fish, lamb, alpha and omega,
triumphal wreaths, grapes, doves, and peacocks. Haloed
Christ, saints and martyrs, and the Virgin Mary began to
appear in painting at a later time. Spiritual expression
took precedence over physical beauty.
 PAINTING IN MEDIEVAL
PERIOD
2. Byzantine Art – The subject matters or paintings were
Christ as the Creator and Mary the Mother of God.
 PAINTING IN MEDIEVAL
PERIOD
3. Gothic Art – Gothic paintings were religious, grotesque, and
calmer and plastic in style. The picture of the Madonna and child, of
Franco-Flemish school, gazing into each other’s eyes in playful mood
is an example of this style.
Franco-Flemish paintings came in the form of portable easel
paintings and oil paintings. Illustrations featured altar pieces with
general wings that open and close. Children’s faces were painted like
small adults; the spectator was even drawn into the picture.
Landscape was incorporated in the picture using the open window
technique in which distant views of the town, people, and river can
be seen.
 PAINTING IN THE
RENAISSANCE
The Renaissance is divided into three (3) periods:
1. Early Renaissance (14th – 15th Century) – Early
renaissance paintings placed emphasis on simplicity,
gesture, and expression. Painting depicted man and
nature in fresco technique.
 PAINTING IN THE
RENAISSANCE
2. High Renaissance (16th Century) – Its center was in
Florence, Venice, and Rome. Painting style consists of the
deepening of pictorial space, making the sky more
dramatic with dark clouds and flashes of light. Da Vinci
introduced the chiaroscuro; Michelangelo dramatized the
position of figures in his famous contrapuesto-twists.
 PAINTING IN THE
RENAISSANCE
3. Mannerism Period – The human figure is rendered
through the use of oil paints of sumptuous, warm, and
sensual colors.

Famous painters in this period were Giotto, Leonardo

da Vinci, Raffaello Sanzio (Raphael), and Michelangelo.
 PAINTING IN THE BAROQUE
PERIOD
Paintings in the Baroque period are ornate and
fantastic. They appeal to the emotion, are sensual and
highly decorative. They make use of light and shadow to
produce dramatic effects. The paintings show figures in
diagonal, twists, and zigzags.
Famous painters in this period include Peter Paul
Rubens, Rembrandt, El Greco, Diego Velazquez, and
Bartolome Esteban Murillo.
 ROCOCO PAINTING
Rococo Painting placed emphasis voluptuousness and
picturesque and intimate presentation of farm and
country. The Rococo art technique made use of soft pastel
colors, rendering the landscape smoking and hazy with
the subject always in the center of the canvas.
Famous Rococo painters were Jean-Antoine Watteau,
Jean-Honore Fragonard, William Hogarth, Joshua
Reynolds, and Francois Boucher.
 ROMANTIC PAINTING
Romantic Paintings delved on the artist’s reactions to
past events, landscapes, and people. Painting is richer
than Rococo. One of the famous painters of this period
was Francisco Goya.
 19th CENTURY PAINTING
(MODERN ART)
19th Century art was aimed to please the public. The
following movements appeared:
1. Impressionism – Paul Cezanne was the greatest
impressionist and the Father of Modern Art. His efforts
were toward the achievement of simplicity, brilliance,
perfect balance, brightness of colors, and sense of depth
in art.
 19th CENTURY PAINTING
(MODERN ART)
2. Expressionism – Vincent van Gogh is regarded as the
Father of Expressionism. He used bright, pure colors
mixed on the palette but applied to the canvas in small
dots or stroke, relying on the beholder’s eyes to see them
together. Gogh’s works are notable for their rough beauty,
emotional honesty, bold color and simplicity. Paul Gauguin
also practiced simplicity in art. He studied the technique of
craftsmen, applied these to his canvas, simplifying the
outline of forms but employing strong patches of colors.
THE DEVELOPMENT OF PAINTING
IN THE PHILIPPINES
The historical development of painting in the Philippines
may be traced into three periods: (1) Spanish period; (2)
American Period; and (3) Modern Period.
THE DEVELOPMENT OF PAINTING
IN THE PHILIPPINES
The first stone churches were built in Intramuros in the
17th century. Painting in churches started in the Manila
area with the priests as painter-decorators. The
Augustinian fathers also offered drawing lessons to the
Filipinos. Native Filipino painters had the freedom to
choose the colors of figures. Early religious painting had
similarities with European works. Some of the painters
during the period were Jose Dans, Damiano Domingo,
Justiniano Asuncion, and Alfonso Ongpin.
 THE ACADEMIA
A Royal Decree promulgated on March 13, 1846 founded
the Academia de Dibujo y Pintura in the City of Manila.
Agustin Saez, the Director, was the lone fculty member.
Lorenzo Rocha who succeeded Saez as the Director joined
the school in 1867. Simon Flores y de la Rosa was one of
those who studied at the Academia. He created most of his
religious canvases using paints. Some of his paintings
include Saint John the Baptist, Madonna and Child, and
Feeding Chickens (displayed at the National Museum).
 THE ACADEMIA
Lorenzo Guerrero, who also studied in the Academia, was
a master in non-religious and creative painting. His famous
painting is From the Market, a masterpiece rendered in
watercolor. Felipe Roxas was a landscape painter. His Church
of Antipolo bears on-the-spot studio color. Other famous
painters of this time were Felix Martinez, Ramon Martinez,
Jose Martinez, Manuel Flores, Anselmo Espiritu, Manuel
Espiritu, and Pepe Lozano. Rafael Enrique later became
director of the UP School of Fine Arts. One of his paintings is
La Muerte de Simon de Anda.
 19TH CENTURY MASTERS
Juan Luna and Felix Resurreccion Hidalgo received high
honors abroad for their woks. While Juan Luna was in the
Philippines, he studied under Saez, Rocha, and Guerrero.
His Spolarium won him a gold medal in the Exposicion
Nacional de Bellas Artes. Prior to Spolarium, he painted La
Muerte de Cleopatra in 1881 in Rome. He also painted El
Pueblo y Los Reyes, Blood Compact, and Portrait of
Legaspi. Luna succumed to heart attack in 1899 in Hong
Kong.
 19TH CENTURY MASTERS
Felix Resurreccion Hidalgo y Padilla came from a
wealthy family in Manila. He studied at the Academia
under Saez. At the Acdemia, he only painted indoors, and
so he went to the open-painting of the Spanish
countryside. The Paintings of Hidalgo include: Virgenes
Cristianas Expuestas Al Populacho; La Barca de
Aqueronte, and Oedipus and Antigone. Hidalgo died in
Spain in 1913.
 PAINTING DURING THE
AMERICAN PERIOD
Painting has a lesser direct utility value than
architecture. There were a few painters, but they painted
simply for the love of art. Painting suffered a standstill
rule and the assumption of the American government.
This naturally disabled the artist financially.
Some of the famous painters of this time were Miguel
Zaragoza, Rafael Enriquez, Fabian de la Rosa, Teodoro
Buenaventura, Jorge Pineda, Ramon Peralta, and Isidro
Ancheta.
 PAINTING DURING THE
AMERICAN PERIOD
In 1903, the Manila “art world” began with the
assistance of other painters; Rafael Enriquez organized
the Asociacion Internacional de Artistas. In 1908, the
group sponsored a competitive exhibition on the Escolta,
in which Vicente Rivera y Mir won two first prizes for his
oil entry El Sueno Diorado.
 PAINTING DURING THE
AMERICAN PERIOD
The other first prize was won by Gaston O’ Farell. Ramon
Peralta with his Cabeza de Estudio won second prize. Jorge
Pineda for his landcape painting of the site of the Cry of
Balintawak and Fernando Amorsolo for his entry Leyendo
Periodico both won second prize. Fabian de la Rosa, a realist
in the true sense of the word, was the most prolific painter of
this period. He is renowned for his landscape painting. The
Marikina Road was a painting on Canvas. Quiet street is one
of the impressionistic pieces of de la Rosa. Planting Rice is
among the first genre paintings he accomphisled.
 PAINTING DURING THE
AMERICAN PERIOD
Jorge Pineda (1879-1946) was an acclaimed landscape
artist of the American Period. He mastered the art of
lithography. Among his works are Playing Chongka,
Lantern Makers, and Alayan. Four decorators Juan
Abelardo, Ramon Peralta, Toribio Antillon, and Emilio
Alvero engaged in scenic painting.
Isidro Ancheta became a figure painter. His stint in the
Academia was cut short by the Revolution.
 PAINTING DURING THE
MODERN PERIOD
Amidst the ruins of war in Rizal Avenue, Escolta, and
parts of Azacarraga, the artists were set to sketch
portraits for a living. They were paid five (5) dollars per
drawing. In 1951, a gallery for the modern painting was
established on a side street of Calle Mabini in Ermita. This
gallery was called the Philippine Art Gallery. Heads of
Igorots, Ifugaos, Mindanao Moslems, Bagobos, and
Mangyans were the favorite subjects in the gallery.
 PAINTING DURING THE
AMERICAN PERIOD
In time, the artists on Mabini street became known as
the “Mabini Painters”. Mabini painters garnered major
prizes in the AAP competitive exhibitions. Romeo
Enriquez’s Sonata won first prize. In 1953, the roster of
Modern painters included Fernando Zobel de Ayala, Victor
Oteyza, Manuel Rodriguez, Hugo Yonzon, Vicente
Manansala, Arturo Luz, Hernando Ocampo, Cesar Legaspi,
Ramon Estella, and Romeo Tabuena.