Lesson 7. Elements and Principles of Art

ELEMENTS
AND
PRINCIPLES
OF ART
 Elements are the necessary
preconditions for the
creation of art.
 It must be emphasized,
however, that all works of art
require all elements to be
present.
 it is a prolongation of a point or
the path of a moving point.
 it defines the edges of shapes
and forms.
 it is said to be the most universal,
primitive and the easiest means
of creating an art.
TYPES OF LINE
Straight Lines
Angular Line
Curved Line
Line have various types:
Straight Line
- When the line maintains in one
direction.
Curved Line
- When the line’s direction gradually
changes.
Angular Line
- When the movement of the line
changes abruptly.
In viewing a picture, our eye movement
is controlled significantly by a large
measure of line directions.
Horizontal Directions
- represents serenity, calmness and
stability.
Diagonal Directions
- identifies movement, motion and
instability.
Vertical Directions
- represents strength, power and poise
 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.
 Form refers to three dimensions:
height, width and depth.
Shapes (and Forms)
 are described according it its
fundamental sources.
NATURAL
ABSTRACT
GEOMETRIC
NATURAL / ORGANIC SHAPE
 is an obvious popular
source since it objectively
represents the physical or
material world.
 are shapes directly identified
with the natural
environment.
ABSTRACT SHAPE
- are fundamental shapes that are
objectified coming from an idea,
emotion or experience.
- a thought processed shaped
where it solicits further
understanding likewise
appreciation of the articulated
or emphasized idea.
GEOMETRIC SHAPE
 are identified by the
use of any
geometrical figures
such as cubes,
spheres, cones, etc.
 it is classified in
two-dimensional
and three-
dimensional forms.
POSITIVE SHAPE AND NEGATIVE
SHAPE
OPEN FORM CLOSE FORM
 this refers to the feel or tactile
quality of the surface of an object.
ACTUAL
TEXTURE
TYPE
SIMULATED
OF
TEXTURE
TEXTURE
INVENTED
TEXTURE
Actual Texture
 These are
artworks that
are intended to
be touched.
 These are
artworks that
make use of the
Impasto
Technique.
Simulated Texture
 Most common
texture employed in
visual arts.
 As per observation,
the works exhibit an
evident appreciation
of tactility as the
process moves from
one texture detail to
another.
Invented Texture
 may be sourced from nature
and from the artist’s hand
through a proactive
metamorphosis.
 as such, texture will be
treated more as a decorative
rather than a surface
representation.
 (Light & Dark) - is the relative
degree of lightness and darkness in
a graphic work of art or painting.
In the application of value, one must
determine the source of the light. If
the light comes from the left, the left
part of the object is seen light, while
the right side is seen dark.
CHIAROSCURO – an Italian term for
light and shadow.
VOLUME / SOLIDITY
 the characteristic of an object
that has mass and weight.
 The presence of value creates the
sense of solidity and weight.
 it exists as an “illusion” in
the graphic or two
dimensional visual arts but
in sculpture it is actually
present.
Spatial Illusion is achieved through
the following:
Variation in Size
Position
Overlapping Planes
Sharp and Diminishing detail
Perspective
Color
SIZE
 Largeness in scale is always and
generally interpreted as nearness.
 Smaller scale suggest spatial
distance.
POSITION
 Horizontal lines are automatic
point of reference for eye level.
 Bottom of the picture planes
indicates nearness to the vision.
 Any degree of rise from the
horizontal line indicates
subsequent receding spatial
position.
OVERLAPPING PLANES
 If one object covers part of the
visible surface regardless of
the size, the first object is
assumed to be nearer.
 This method is a strong
indicator of space compared to
other indicators.
SHARP AND DIMINISHING DETAIL
 In focusing on a near object which
yields sharp and clear detail while
the rest that surrounds it tends to
be blurred and lacking definition.
LINEAR AERIAL
PERSPECTIVE PERSPECTIVE
• Warm colors are on one side of the
color wheel and they give the
felling of warmth for example red,
orange and yellow are the color of
fire.
• Cool colors are on the other side of
the color wheel and they give the
feeling of coolness for example
blue, violet, are the color of water,
and green are the color of cool
grass.
 The most important element in the
visual arts.
NEUTRALS
 Some objects are in black, white,
or grey which do not appear in the
color wheel.
 There is no color quantity found in
them;
 Since they are not distinguished
as any color, these tones are
known as “neutrals”.
Primary Colors
• solid colors
• cannot be created by
mixing others
Secondary Colors
• colors resulting from the
mixture of two primary
color in equal amounts.
Intermediate Colors
• achieved by the
mixture of primary and
secondary colors.
Color Harmonies
• Color Harmonies is when an
artist uses certain combinations
of colors that create different
looks or feelings.
• Monochromatic is where one

color is used but in different
values and intensity.
• Analogous Colors are colors that
are next to each other on the color
wheel for example red, red orange,
and orange are analogous colors.
• Complementary Colors are colors

that are opposite each other on the
color wheel. When placed next to
each other they look bright and
when mixed together they
neutralize each other.
• Triadic Harmony is where
three equally spaced colors
on the color wheel are used
for example, yellow, red, blue
is a triadic harmony color
scheme.
ELEMENTS OF ART:
AUDITORY
 is the repeated pattern of strong
and weak beats in music.
 it is the pulse / heartbeat of
music.
 often associated to beat, meter
and tempo.
 refers to the loudness or softness
of music.
 Pianissimo (pp) – very soft
 Piano (p) – soft
 Mezzo-piano (mp) – medium soft
 Mezzo-forte (mf) – medium loud
 Forte (f) – loud
 Fortissimo (ff) – very loud
 a quality that distinguishes a
voice or an instrument from
another.
 It is also referred to as timbre.
 refers to the singer’s or

composer’s way of doing his part.
 refers to the thickness or thinness
of a musical composition.
KINDS OF TEXTURE
 Monophonic – single melodic line
 Homophonic – main melody plus
accompaniment.
 Polyphonic – three or more
different melodic lines.
 the structure of a musical
composition.
TYPES OF FORM
 Unitary – one section only
 Binary – two sections
 Ternary – three sections
 Rondo – multiple sections
 a combination of tones
arranged in succession.
 the musical presentation is

horizontal and read from left
to right.
 a combination of tones
arranged in a simultaneous
manner.
 if melody is horizontal,
harmony is vertical.
 it arises when tones are
combined to form chords.
BALANCE
 is a feeling of equality in weight,
attention, or attraction of the various
elements.
Symmetrica
l
BALANC Asymmetrica
E l
Radial
SYMMETRICAL
 formal balance
 two equal parts of the pictorial
plane of an artwork stand like mirror
images of each other.
ASYMMETRICAL
 informal balance
 the perception or feeling of
balance comes from the significance
or “weight” of the things from each
end.
RADIAL
 parts or patterns of the design
seem to move outward from the
center.
RHYTHM
 is a flow, or a feeling of movement
achieved by the repetition of regular
visual units.
1. SIMPLE RHYTHM - single motif
only.
2. COMPOSITE RHYTHM – two or
more motifs.
PROPORTION
 deals with the ratio of one part to
another and of the parts to the
whole.
EMPHASIS
 manner of creating
one element in an
artwork as the most
important part.
 achieved through
size, shape, color,
brushstrokes, or
combinations of the
following.
HARMONY
 refers to the adoptions of the
visual elements to each other, the
agreement between the parts of a
composition which result in unity.
CONTRAST
 The disparity between the
elements that figure into the
composition.
As in one object
maybe made
stronger
compared to
another object.
VARIATION
 The principle that aims to retain
the interest by allowing patches or
areas that both excite and allow
the eye to rest.
THE
RULE OF
THIRDS
The rule of thirds is a "rule of thumb" or
guideline which applies to the process of
composing visual images such as
designs, films, paintings,
and photographs.
The guideline proposes that an image

should be imagined as divided into nine
equal parts by two equally spaced
horizontal lines and two equally spaced
vertical lines, and that important
compositional elements should be
Proponents of the technique claim
that aligning a subject with these
points creates more tension, energy
and interest in the composition than
simply centering the subject.
The main reason for observing the

rule of thirds is to discourage
placement of the subject at the
center, or prevent a horizon from
appearing to divide the picture in

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ELEMENTS

• Monochromatic is where one

• Complementary Colors are colors

 refers to the singer’s or

 the musical presentation is

The guideline proposes that an image

The main reason for observing the

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