This document provides information about various elements of visual arts including line, color, texture, perspective, form, and principles of art design. It discusses different types of lines such as horizontal, vertical, diagonal, curved, and crooked lines. It also covers the three dimensions of color - hue, value, and intensity. The document defines texture and discusses the two types of texture - tactile and implied. It explains linear and aerial perspective. It defines principles of art design such as harmony, rhythm, balance, proportion, and emphasis.
This document provides information about various elements of visual arts including line, color, texture, perspective, form, and principles of art design. It discusses different types of lines such as horizontal, vertical, diagonal, curved, and crooked lines. It also covers the three dimensions of color - hue, value, and intensity. The document defines texture and discusses the two types of texture - tactile and implied. It explains linear and aerial perspective. It defines principles of art design such as harmony, rhythm, balance, proportion, and emphasis.
This document provides information about various elements of visual arts including line, color, texture, perspective, form, and principles of art design. It discusses different types of lines such as horizontal, vertical, diagonal, curved, and crooked lines. It also covers the three dimensions of color - hue, value, and intensity. The document defines texture and discusses the two types of texture - tactile and implied. It explains linear and aerial perspective. It defines principles of art design such as harmony, rhythm, balance, proportion, and emphasis.
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.