JUMBLED LETTERS

MVOEMNET
ALEVU
TEXURET
LNIE
SAHPE
COMOPSITOININSPCEA
ELEMENTS OF ART AND
PRINCIPLES OF
COMPOSITION
LESSON 8:
 OBJECTIVES
• Understand how contemporary artist use the elements
of art to convey ideas, values, and feelings through
diligent observation and attention to the works;
• Explain the close connection and dynamic interaction
between the elements of art and the cultural, social,
historical, and personal factors within particular
societies through a written and oral report; and
• Create and integrative artwork, that will demonstrate
the interrelationship between the arts and their
elements
 ELEMENTS OF ART
1)Line
2)Color
3)Value
4)Texture
5)Shape
6)Composition in Space
7)Movement
 LINE
• in VISUAL ARTS, it refers to the quality of
the line (e.g. thin, broken, thick, blended, or
among others)
• associated with the body’s axis as it moves
toward different directions and adjusts to a
point of reference through various positions
and actions, such as walking, standing,
sitting, etc.
 LINE

TEXTURE
• created when several lines come together
• can be very thin, washed or very thick,
rough or fine
 COLOR
• is associated with our experiences
of cold and warmth, and the quality
of light in our tropical
environmental, the cycles of night
and day, of darkness and light.
 ASPECTS OF COLOR

(a)HUE has to do with how light

waves of various lengths and
rapidity of vibrations bounce off
objects and enter our eyes.
 ASPECTS OF COLOR
WARM HUE- it has longer wavelengths and is
more distinct and easily discernible (ex. red,
orange, yellow)
• WARM COLORS seem to advance towards
us.
COOL HUE- it has shorter wavelengths and
seem to merge into each other
• COOL COLORS appear to recede.
 ASPECTS OF COLOR

HUES vary in SATURATION,

INTENSITY, or
BRILLIANCE.
 ASPECTS OF COLOR
(b) BRILLIANCE
Example:
● brilliant blue + neutral hue (i.e. gray)
= its hue or blueness does not
change, it just becomes less intense
or duller.
 ASPECTS OF COLOR
(c) VALUE OR TONE - Refers to hue’s
brightness or darkness example:

● a hue + black = becomes more dim

or heavy
● a hue + white (or gray) = it lightens.
Artists make use of these aspects of
color and combine theme into different
color scheme, these includes:
• POLYCHROMATIC SCHEME - means it is made of
many colors
• MONOCHROMATIC SCHEME - using only one
color example: ● blue + white (or gray) = many
colors
• ACHROMATIC SCHEME - no color -it uses black
that absorbs all colors; or white that reflects all
colors 7
 EXAMPLE OF AChromatic
School of Design and Art (SDA) building of the La Salle
College of St. Benilde on Vito Cruz, Manila built by
Architect Lor Calma has white concrete walls interspersed
with glass.
combined with its unique floor pan and structure, the color
scheme (achromatic scheme) gives the building a futuristic
look, reflecting its cutting edge, industry-driven curricular
programs

Visual artists use colors in different ways, depending on

their styles and preferences.
 EXAMPLE OF AChromatic
Some artists use color as a
REPRESENTATIONAL element intending to
depict the world as accurately as possible.
Portraits approximate skin tone and color;
landscape and still life depict actual
conditions of the environment through
shading, and CHIAROSCURO or play of light
and dark.
EXAMPLE OF AChromatic
Example:
● Fernando Amorsolo’s use of color in his portrait,
hewing as closely as possible to skin tone and color
of dress and surroundings. His landscapes are said
to capture the colors of the earth, sky and sea, and
that of the Philippine sunlight. Most contemporary
and Modern artists are more personal and
expressionist in their use of color, taking liberties
with color schemes to convey mood, atmosphere
and symbolic potential, as opposed to conveying
literal, meaning.
 VALUE
• Refers to gradations of tone from light
to dark, which can be an aspect of
color as discussed above, but could
also specifically refer to the play of
light on an object or a scene
 VALUE
• In representational painting, it is shading,
blending, and chiaroscuro or the play of
light and dark that lend the flat surface an
illusion of depth and perspective
• non-representational use of value is also
useful in documentations, as in black and
white I.D photos or in reportage practices
like photojournalism
 TEXTURE
• Refers to how objects and surfaces feel, and is
most associated with the sense of touch or
tactility.
• It is created when several lines are combined.
The combination maybe described as smooth,
translucent, fine, silky, satiny, velvety, sandy,
furry, feathery, slimy, gritty, rough, rugged,
coarse, porous, irregular, jagged, thick, thin,
and so on.
 TEXTURE
Example:
● Barong and Saya fabrics are translucent
and delicate.
• Dresses of Aze Ong are soft, yet thick; and
as Filipino formal dresses, these are
appropriate for important occasions
usually done in air-conditioned spaces, and
are not for everyday wear
 TEXTURE
• In REPRESENTATIONAL WORKS, it can be
stimulated or imitated. However, it can also be
actual, as can be found in college, where actual
objects are glued on a surface example: ●
Imelda Cajipe-Endaya integrates sawali panes,
crocheted lace, fabrics and rope to make more
concrete and more immediate her work’s social
and political themes such as feminism, export
labor, and anti- imperialism
 SHAPE
• Refers to forms that are two-dimensional
which exist as planes having length and
width; or three-dimensional which possess
length, width and volume.
• It can either be geometric (rectilinear or
curvilinear), biomorphic, or free inventions.
COMPOSITION IN SPACE
• Involves the relationship between figures
and elements
• Refers to how this elements are organized
and composed according to principles of
organization (which are balance,
proportion, rhythm, unity in variety,
dominance and subordination.
 MOVEMENT
•May occur in two-dimensional
design as rhythm or through the
recurrence of motifs, their
alternation or progression
unfolding in a series.
 ADDITIONAL
INFORMATION
LINE
• The artist uses lines to imitate or to represent
objects and figures on a flat surface
• Delineate shapes, gives effect of solidity or
create illusions (volume, texture)
• Lines can be used to stimulate the movement
of the object, or part
 DIRECTION AND MOVEMENT
OF LINES
• Horizontal Lines  impression of serenity and
perfect stability
• Vertical Lines  poised and stable
• Diagonal Lines  action
• Curved Lines  gradual change of direction;
fluidity
• Circular Lines  abrupt change of direction
 SHAPE
• Used to simplify ideas
• Natural Shapes  those we see in nature and may be
interpreted realistically, or may be distorted
• Abstract Shapes  formed after the artist has drawn out
the essence of the original object and made it the subject of
his work
• Non-objective Shapes  seldom recognizable but often show
a similarity to some organic forms
 SHAPES IN ART FORMS
• Shapes in Painting  a shape is an area on flat
surface enclosed by a line
• gives the illusion of weight, volume, or
flatness
• Shapes in Architecture  defined by the
individual parts that compose each structure
SHAPES IN ART FORMS
• Shapes in Sculpture  identifies as mass or as volume
• Single Curved Surface  surfaces of cylinders and
cores curved in a single direction
• Warped Surface  surface curves in several directions
so that no two directions are parallel to one another
• Double Curved Surface  curved in all directions
TEXTURE
• Refers to the feel, or the tactile quality of the
surface of an object (rough, smooth, grooved,
rigged, etc.)
• Sculpture and Architecture  texture results form
the physical properties of the materials used
• Journal lettering and manuscript  can be a part
of a textural area in paintings
COLOR
• Not a permanent property, but is derived from light
• It is the sense of wavelengths which strike our eyes
• Pigmentation  color quality which enables an object
to absorb some of the colors and reflect only one
• Neutrals  does not reflect all colors and gray results
from a partial reflection
 PHYSICAL PROPERTIES OF
COLORS
• Hue  quality which gives a color its name
• Value  neutrals (such as black or white)
were added to change the quality of light it
reflects
• The lightness or darkness of a color
• Intensity or Saturation  strength of the
color’s hue
USES OF COLOR
• May give spatial quality to the pictorial field
• May create a mood and symbolize ideas and
express personal emotions
• Has the ability to arouse sensations of pleasure
because of a well-ordered system of tonality
 VALUE
• Tonal relationship between light and dark areas in the
painting
• It is an element that must be considered about other
elements such as line, color, texture, and shape
• Chiaroscuro  technique which concentrates on the
effects of blending light and shade on objects to create an
illusion of space and atmosphere
• Tenebrous  makes use of a larger amount of dark areas
beside smaller areas of light for emphasis
SPACE AND MOVEMENT
• Space exists as an “illusion” in the graphic arts
• 2 basic types of Space in Painting
1. Decorative space  depthless space that exists
across the plane rather than in it
2. Plastic space  applies to the third dimension
which is a matter of “illusion” in the case of
painting
SPACE AND MOVEMENT
• Space in Sculpture
1. May be considered as a single solid or an assemblage of
solids that inhabits space
2. May be seen or it enters in relation with surrounding
space extending into it, enveloping it, or relating across
it
• Space in Architecture  defined by the shape, position, and
the materials employed by the architect