ELEMENT

S of ARTS
Elements (of visual art)
refer to which the artist uses as
symbols (symbolic), pictures
(pictorial), and an expression
to visualize and communicate
his variety of feelings and
ideas.
 Line
Form
Texture
Value
Color
Space
Perspective
LINE
LINE refers to the contour
or outline of an object. It
also represents the edges of
an object. As an element of
art, it is always associated
with the emotional state of
man.
As man tries to express his
feelings or thoughts
through lines in art, he
usually finds the position of
line which could best
represent his feelings or
thoughts.
 Types of lines:
Straight lines – give the feeling of
simplicity, directness and sometimes
monotony.
Horizontal lines – express calmness,
quietness, peace and repose.
Vertical lines – express dignity, stability,
majesty, uprightness, strength, life and
reverence.
Oblique, slant or diagonal lines -
indicate motion or action,
support, stability and
vulnerability.
Broken lines – suggest disorder,
violence and power.
Light lines – give the feeling of
delicacy and refinement.
Heavy lines – give the feeling
of strength and sturdiness.
Curved lines – suggest grace,
feminity, variation and
movement.
Parallel lines – suggest
equality.
Identify the following LINES
FORM
FORM refers to the shape,
structure and area of an
object. Like line, it also
represents the feelings or
thoughts of the artist. Form
in art varies in types, size
and effect or meaning.
 Types of forms:
Regular (forms) – forms
having definite shape.
These include square,
triangle, rectangle, circle
and oblong.
Identify the following FORMS
 Square
Its sides connote monotony and lack
in variation. This is the reason why
in art it is not a good shape
especially for border or boundary.
 Circle
It suggests simplicity,
continuity and
monotony.
 Rectangle
It is a good shape for decorative
and structural design. It
expresses stability, close set,
dignity and uprightness.
 Triangle
It has the expression of
repose and dignity.
Natural (forms) – forms
found in nature like the
shapes of the leaves,
animals, trees, mountains
and the human body.
Geometrical (forms) –
forms with three-
dimensions. These
include prism, pyramids,
cones, cylinder, sphere
and cubes.
 Identify the following Geometrical Forms

Rectangular prism
Cube

cylinder
sphere
prism Rectangulalrpyramid

Frustum of a square pyramid

cone
cone
 Forms according to size:
Large forms – give the
impression of spaciousness
and superiority.
Small forms – suggest
inferiority and crowding.
TEXTURE
TEXTURE refers to the quality
or character of the area or
surface produced by the form.
Its aesthetic value of texture
lies first of all in the fact that
it makes the gradation of
color possible.
 Textures give a surface
unevenness which causes
the color of the surface to
be broken into gradations of
light and shade giving it a
charm of its own.
 Types of texture:
Rough or Coarse textures
suggest strength,
endurance and cheapness.
Smooth or Fine textures
imply excellently finished,
delicateness and costliness.
 Parchment Woven Mat

Granite
White Marble
Sand
Cork

News Print

Identify the Textures of the Mentioned Materials

VALUE
VALUE refers to the amount
of light, shade or dark-and-
light in an object. Its
aesthetic value lies on the
reason that subjects or
objects of art are seen
because of its presence.
 The Three Primary Values:
The extremes in value are black
and white that is the highest value
is white and the lowest, black.
Black is the absence of light while
white is its presence. The step
half-way or the middle value is
called gray.
 Gray

Black White
Lonely Swim (WILFRED TORRALBA ALINAS)
Watering Hall (WILFRED TORRALBA ALINAS)
The Sentinel (WILFRED TORRALBA ALINAS)
 COLOR
hues with their
various values and
intensities
PINK
VIOLET GREEN

BLUE PINK
RED

BROWN
PINK
VIOLET GREEN

BLUE PINK
RED

BROWN
 Color refers to the visual
perception of light being
reflected from a surface of
an artwork. In the most
basic classification, colors
can be divided into three
groups: primary, secondary
and tertiary.
 Color refers to the
quality or kind of light
that reflects from the
surface of the object.
Colors are seen
because of value or
light.
The Three Properties of Color:
1. Hue - is the dimension of
color that gives color its
identity or name. Color
names such as red, yellow,
blue and others indicate
the color characteristic
called hue.
2. Value – denotes the lightness
and darkness of a color.
Colors can be made darker by
making the pigments thicker
or adding black or adding a
little of its complement.
Colors can be made lighter by
adding water or oil or white.
3. Intensity or Chroma – denotes
the brightness or dullness of a
color, its strength or weakness,
its purity or impurity. A color can
be made intense by adding more
pigment of the same hue, by
placing beside it its complement
or opposite or by surrounding it
with the same hue but of lower
intensity.
Classification of Colors (Hue):
The primary colors are
RED, YELLOW and
BLUE. These are called
primary colors because all
other colors are produced
by combining any of the
two colors.
Red Yellow Blue
The secondary colors are
GREEN (yellow + blue),
ORANGE (yellow + red)
and VIOLET (blue + red).
These are formed through
the combination of two
primary colors.
Green Orange

Violet
The tertiary colors are the
combination of two secondary
colors.
Violet + Orange = Russet
Orange + Green = Olive
Violet + Green = Slate
Russet
Olive
Slate
The quarternary colors
are mixture of two
tertiary colors.
Russet + Olive = Buff
Slate + Russet=Plum
Olive + Slate = Sage
 Buff

Plum

Sage
 The intermediate or
intermediary colors are
mixture of equal amounts
of primary and secondary
colors. These are yellow –
orange, red-orange, red-
violet, blue-green, blue -
violet and yellow-green.
 Yellow - Green

Blue - Violet

Red - Violet

Blue - Green

Yellow - Orange
Red - Orange

Intermediary Colors
 Name the I
Intermediary Colors
N
T
E
R
M
E
D
I
A
T
E
The complementary or
opposite colors form a
natural balance in the color
wheel. Example of
Complementary colors are:
red and green, blue and
orange and violet and
yellow.
 Yel Red
lo w n
Gree

le t
Vi o
Orange Blue

Complementary Colors (The Primary and Secondary Colors)

 Complementary Colors (The Intermediary Colors)

Blue - Violet Red - Orange

Yellow - Orange Blue - Green

Yellow - Green

Red - Violet
Manner of Presenting Colors (Hues):

Color Wheel – manifests

the primary, secondary,
intermediary as well as
the complementary
colors.
C Y
Y-O Y-G
O
L O G

O
R
R-O B-G
W
H
E R B

E
R-V
L V
B-V
Color Wheel
Color Triangle – manifests
the primary, secondary,
tertiary quarternary and
the intermediary colors as
well. It can also be a
substitute to color wheel.
Color Triangle
Tertiary
Colors
Y

Primary
Colors Secondary
Colors
Olive

O G

Russet Slate

R V B
Identify each Hue in the (given) Color Wheel

Color Wheel
 Color Triangle

Y Quarternary
Colors
Primary
Colors

Plum Olive
Tertiary
Colors
O G

Secondary
Colors

Buff
Buff Sage
Sage

R V B
Russet Slate
Color Triangle Intermediary
Colors

YO YG

O G

Buff Sage
BG
RO

R V B
RV BV
Colors and Their Effects:

“A serious study of the

symbolism of colors will show
the correct concept of color
interpretation. This will also
develop the proper application
and use of colors in everyday
life.”
 Black
It is the darkest and the dullest
of the colors. It is only
considered a color when mixed
with other color. It suggests
despair, gloom, death and
mourning.
 Blue
It is the color of the sky and the
deep. It gives the impression
of vastness and infinity. It is a
symbol of tranquility, calmness
and peace.
 Gray
It gives the impression
of weight, solidity
and neutrality.
 Green
It is the color of
vegetation and still
water. It is a symbol of
growth, freshness and
hope.
 Orange
It symbolizes
deliciousness and
sweetness.
 Pink
It symbolizes
love.
 Red
It typifies fire, blood,
danger, festivity,
bravery, war, passion,
energy, vitality and
warmth.
 Violet
It suggests shadows,
mourning, penance,
royalty and power.
 White
It stands for simplicity,
clarity, purity, peace,
cleanliness and
innocence.
 Yellow
It symbolizes life, joy,
sunshine, cheerfulness,
warmth, splendor,
royalty and hospitality.
 Brown
It suggests humility
and confidence.
 Supply the Color Triangle
MISSING HUES
based on the
given Hue
Russet
(Color)
PERSPECTIVE
Perspective deals with the
effect of distance upon the
appearance of objects, by
means of which the eye
judges spatial relationship.
It enables us to perceive
distance and to see the
position of objects in space.
 Types of Perspective:

1. Linear perspective is the

representation of an
appearance of distance by
means of converging lines.
This has to do with the
direction of lines and with the
size of objects.
(Example: The tracts of a railroad appear to the viewer as
seeming to rise and meet in the distance.)
2. Aerial perspective
is the representation
of relative distances of
objects by gradations
of tone and color.
 (Example: Objects
become fainter in the
distance due to the
effect of distance.
Objects appear to be
lighter in color and the
outline more vague as
they recede into the
distance.)
SPACE
 Space is the bounded or
boundless “container” of
collection of objects. In art,
space is regarded as
bounded by and susceptible
to aesthetic and expressive
organization.
 Since visual arts are also
classified according to their
dimensions, space is
categorized into two
according to the visual art
that will occupy it.
Plane – is a space limited
only to painting and other
related arts, since they
are two-dimensional arts.
Generally, they only
occupy a surface.
An Artist (Romi Mananquil)
 Selleck
(Wilfred T. Alinas)
One Sunday Afternoon (Antonio Afable)
Caribbean Coast near Tela (Photo)
Puente Yayabo (Photo)
SCULPTURE
Subject
Medium
Texture
Space
SUBJECT
In sculpture, the subject tells what the
work is all about. Since art is an
expression of oneself, subject is the
best avenue where the sculptor can
manifest his emotions, his thoughts,
love and frustrations, victory and
defeat. Through the subject, the
sculptor can also manifest his cry for
change, justice, affiliation and
preferences.
MEDIUM
Diversity of materials and richness
of the earth give a lucrative
opportunity for a sculptor to
explore his art, although limitation
may be cited on the availability
and non-availability of materials in
a certain topography or setting.
Common materials used are
wood, metal, stone, clay, plastic
and ice.
TEXTURE
Texture refers to the touch of the
skin against the surface or the
body of a given sculpture. It also
refers to the interpretation given
both by the artist and the admirer
towards the piece of art. As an
element of sculptor, texture is
always the prerogative of the
artist.
SPACE
Space refers to the portion or area
where the piece stands. Both
sculpture and architecture occupy
a space called volume.
Volume – is a space provided for
three-dimensional arts such as
architecture and sculpture.
Volume is the space that is
organized, divided, or enclosed
by height, length and width.
PROCESS OF
CREATION
Many art critiques believe that
the reason why humanities has
fewer sculptors than painters
is because not all artists could
be pitted in wood or stone.
Moreover, being a sculptor
needs sustained physical effort
to transform one’s imagination
to reality.
 Carving
Modeling
Casting
Fabrication
CARVING
It is a subtractive process; it
involves removing
unwanted portions of the
raw material to reveal the
form that the artist has
visualized. Wood, stone
and ivory are the materials
employed in this process.
MODELING
It is an additive process. It means
building the form, using highly
plastic material such as clay or
wax. This results in a type of
creative spontaneity. The
additive process permits the
artist to rework his material
and introduce details as he
sees fit.
CASTING
It is a complex process. It uses
bronze and other metal for it
to materialize. It begins with
the production of a negative
mold. Then the artist covers
the original model with a
mold in such a way that a
faithful negative reproduction
is created.
FABRICATION
 It employs methods of
joining or fastening, such as
nailing, stapling, soldering
and welding. In this
process, the artist builds his
form piece by piece. He may
even combine different
materials together
ARCHITECTURE
The extent to which a building
may be considered architecture
depends upon the degree to
which the four basic elements
of FUNCTION,
CONSTRUCTION, DESIGN
and SPACE have individually
and collectively contributed to
its form.
 FUNCTION,
CONSTRUCTION
and
DESIGN
The function of a building and
its mode of construction
should be both clearly
expressed in the design. In
addition, it should possess
such a formal character that
will appeal to the observer in
its own right.
 There is true
architectural
distinction when the
relationship of part to
the whole is dictated
by a useful purpose.
Everything seems
inherently and
inevitably right. The
result is beauty.
But great architecture is
produced only when:
1. The elements of
function and
construction are
integrated by creative
design.
2. The building has
acquired a significance
that transcends its
objective character.
DESIGN
and
SPACE
In terms of design, the fundamental
problem is to define the volume of
space in the structure by the forms
that will enclose it. Through design
a positive relationship between the
solids and the space is established.
The character of a building will be
ultimately determined by the
treatment of space.
 PRINCIPLES
OF
CONSTRUCTION
Three structural principles
are of paramount
importance in the history of
building. In various forms
and variants, they account
for almost any imaginable
type of construction.
Post and Lintel
Arch
Cantilever
Of the three, the post and lintel
structural principle is probably
the earliest, although some
ancient examples of arch have
also been found. The cantilever
comes into extensive use with
the advent of steel building,
although it also occurs in
medieval wooden roofs.
Post and Lintel
The nature of the post and lintel system
is implied by its name. It consists of
two vertical members that support a
horizontal one. It is the simplest of the
three basic structural principles for the
vertical members need only be
sufficiently strong to support the
horizontal weight. Even if some
additional weight is placed on the
lintel, the stability of the system is not
threatened, if its span is not too great.
 Downward thrust
of lintel

Shearing effect

Upward thrust of lintel

Lintel

Post
The post and lintel system is the most
frequently employed of the three
structural principles. It is even used
in the modern steel-framed buildings,
which are composed largely of
beams, fastened together to form
post and lintel units. In addition to
being the simplest of the three
principles, its structural effect is easily
observed.
ARCH
 In its simplest form, the arch
consists of a semicircle of wedge-
shaped blocks called voussoirs,
the topmost one being the
keystone. The bottom face of the
lowest voussoir on each side is
called an impost. The top face of
the upper most stone of whatever
member supports it is called the
springing.
 Keystone

impost

impost
impost voussoir

springing
Keystone

voussoirs

imposts

springing
 Arch of
Severus, Rome
The arch has some inherent shortcomings.
It must be supported on a scaffold, while
it is being built. Such a scaffold is called
centering. It is usually of the form and
size of the opening to be spanned by the
complete arch. The voussoirs are laid
upon it, and then locked in place by
putting in the keystone. The keystone,
subjected to the law of gravitation, has a
constant tendency to fall. However, this is
avoided when proper compensation of the
whole structure is made (buttressing).
CANTILEVER
The cantilever is basically the horizontal
extension of a beam of slab into space
beyond its supporting post. Its free
external end is unsupported, and the
point where it rests on its post, acts like
the fulcrum of a lever. If the internal end
of the beam were not bolted down or
counterweighted in some fashion, the
cantilever would rotate around its
fulcrum. Since the inside end is fixed,
the free end is rigid.
cantilever cantilever
cantilevers
The cantilever is utilized today
largely in construction with
steel and ferroconcrete. Its
mechanical operation involves
forces that join the structural
parts to many different strains
– like twisting, bowing,
tension, compression and the
like.
“Every good painting, every
genuine poem, bears the
stamp of the frame of mind it
depicts. For only what has
sprung from perception,
indeed from purely objective
perception, or is directly
stimulated by it, contains the
living germ from which
genuine and original