ART APPRECIATION -GE 16

MODULE 1: LANGUAGE OF ART: ELEMENTS AND THE PRINCIPLES OF DESIGN

Instructor: BACACAO,JACKSON B. RCrim

OBJECTIVES:
 Understanding the elements of arts and the design principle

TOPIC 1: Elements of art

Introduction
Every time you create an artwork there are 7 elements, or components,
that your artworks consists of. More often than not we just take these
elements for granted, or don't even give them a second thought.

They are however critical to the success of your artwork. By keeping

them in mind as plan and create your artwork, you will end up with a
much better artwork.

One that will be easier to look at as the person's eye will flow through
your artwork more fluently. You will have control over how their eye
moves through your painting - you will be able to lead them through the
painting.

This is just one of the benefits of knowing the 7 elements of art. Let's
dive right in by looking at what these 7 elements are:

What are the 7 Elements of Art?

The seven elements of art are line, shape, form, space, value, color and
texture. These elements are the essential components, or building
blocks, of any artwork. Any good artwork should consist of these 7
ingredients.

1. Line
Line is the most basic element of art. Without line the other elements
couldn’t exist so let's start here and then we will gradually go more
advanced.

A line can be thought of as a moving dot. If the dots overlap, it’s a solid
line, if they don’t it’s a dotted line. A line has a beginning and an end and
by its existence, creates an edge.

If a line joins up it forms an outline (also called a contour). An outline

creates a shape.

Lines can be:

1. Long or short
a. Thick or thin
A thick line gives emphasis and advances while a thin line recedes.
b. Straight
Straight lines on the other hand are more mechanistic and dynamic
and rarely found in nature.

c. Curved
Curved lines change direction gently with no sharp angles and
suggest comfort and ease to the viewer. Curved lines most often
relate to the natural world.

d. Zigzag
Zigzag lines alter direction fast and create feelings of unrest,
turmoil and movement.

e. Diagonal
Diagonal lines, give movement and dynamism to a composition.
 f. Horizontal
Horizontal lines create the feeling of stability and calm.

g. Vertical
Vertical lines give the impression of height and strength and often have a spiritual connotation.

In summary lines can:

 Describe 2-dimensional shapes and 3-dimensional forms
 Create feelings of movement and emotion
 Create value and thereby show the direction of light
 Change 2-dimensional shapes into 3-dimensional forms with value
 Depict texture

2.SHAPE
When a line meets up to enclose a space, a shape is formed.
Shapes can be:
Geometric or organic.
Shapes are 2-dimensional, i.e. they have height and width but no depth e.g. a square. The best way to
remember the shape element is to think of an outline.

Positive or Negative Shapes

The object you draw on your page is a shape enclosed in a frame. This frame may be a box you drew
to designate the edges of your drawing area or the edge of the page if you didn’t draw a box. The
object you draw is the positive shape. The rest of the space in your box (or if you didn’t draw a box
then the rest of the page) is called negative shape.

3. FORM

Form is the next step up from shape as we now add depth to it to create a three dimensional form.
A square (shape) vs a cube, a triangle vs a cone etc. etc. Form encloses volume i.e. height, width as
well as depth.
In drawing and painting form can only be implied because they are 2-dimesional (flat) media. Artists
must use tricks to fool the viewer’s eye so as to create the illusion of the third dimension i.e. depth.
This is known as Trompe l’oeil and is achieved using tools like value (shading), colour and contour
lines.
Here you can see how shading has been used to create the illusion of 3-dimensional objects on a flat
wall:
 Like shapes, forms can be geometric or organic.
Organic forms are common in nature while geometric forms are more characteristic of architecture
and man-made items. Nature however also uses geometric forms on occasion. Examples are crystals
and honeycombs.

4. SPACE
Space is what lies between, around or within an object.
To show space in a 2-dimensional medium the artist must use techniques to create the illusion of space
between items that are in reality on a flat surface.
How do artists create this feeling of space between objects?

a. Overlapping

When an object is drawn or painted on top of another object the viewer’s eye interprets this as one
object being in front of another implying there must be a space between them.
b. Placement

Objects higher up in the picture plane will seem to the viewer’s eye to be further away than objects
placed low down in the picture frame.
d. Size

Smaller objects look as if they are further away than larger objects. Notice how much smaller the
house is in relation to the flowers.

e. Detail

The further away an object, the less detail is visible to the viewer. By purposely reducing the amount
of detail in an object it will appear further away than an object with greater detail.

f. Colour and Value

Objects in the distance usually appear cooler (bluer) and lighter in colour. Close up objects appear
warmer and darker in value.
Perspective
Can be used to create the feeling of depth on a 2-dimensional surface. The most commonly used
perspective types are linear and 2-point perspective.

5. VALUE

Value is how light or dark something is.

There is a scale of light and dark from pure white through to pitch black. The value of a colour
depends on how light or dark it is compared to the value scale.
Getting the values right is more important than getting the colours right in painting. Value is what
makes it possible to show 3-dimensional forms in a 2-dimensional surface.
By increasing differences in value, contrast is increased as well. A highlight will look brighter when
surrounded by a dark value. Decreasing contrast will make objects visually recede into the picture
plane and draw less attention.
The focal point of a painting is where you want to add the most contrast as this high contrast
automatically draws the viewer’s eye.

If a painting is done on the lower (darker) edge of the value scale it is called a “low key” painting.
Low key paintings give rise to a heavy, mysterious, dramatic, sometimes brooding feeling in the
viewer.

By contrast “high key” paintings take their range of values from the upper end of the value scale and
create emotions of lightness, quickness, spirituality etc.
Most paintings however use the full range of values from light to dark.
Value is what artists use to portray light and form. The further from the light the darker the value.

How value changes determines the form of an object.

If there’s a gradual transition in value it conveys to the viewer that the surface is gently rounded. This
is called a soft edge.
If however there is a rapid transition between values it means there is an edge. This is called a hard
edge.
Value is also used to create shadows which show light direction and anchor the object, preventing it
from appearing as though it is floating.
6. COLOUR

Colour is created when light is reflected into the viewer’s eye.

In art, colours are arranged on a colour wheel. The colour wheel was developed by Isaac Newton who
took the colour spectrum and bent it into a circle.
The colour wheel shows primary colours, (colours that can’t be mixed), secondary colours (made by
mixing two primaries) and tertiary colours (made by mixing a primary and secondary colour).
Colour theory helps the artist to mix desired colours from primary colours. It’s only a theory and
can’t be proven but it is nevertheless useful to the artist. Colour theory is based on the colour wheel,
colour value and on which colours work well together - also called colour schemes.
There are various colour schemes which define the primaries. The most common is the Red, Yellow,
Blue model. Another popular scheme uses Cyan, Magenta and Yellow as the primaries. There are
several other and each works well in different situations.
Colour is described by its hue – red, green etc. (Hue the name we give a colour.)
A colour has intensity called chroma, also known as saturation, brightness or purity. The more pure
the colour is (less of other colours mixed in), the more intense or saturated it is. In painting only small
amounts of saturated colours are usually used as accents. Too much saturated colour can give a
garish result. The chroma of a colour is not the same as its value.
Colours also have value. Value is how light or dark the colour is, as discussed in Element 5 above.
Each colour falls on the value scale from light to dark. Yellow would be near the top (light end) of the
scale while purple would be found near the bottom end. To change the value of a colour you follow
the Colour Mixing Rules.
Art supply stores sell interactive colour wheels which are essential to the artist working with colour. I
recommend this Color Wheel.

7. TEXTURE
Actual texture is the way an object feels to the touch.
Drawing or painting texture on a 2–dimensional, flat surface is a challenge for artists. The artist must
instead convey the illusion of the actual texture to the viewer on the flat surface.
How this is done is by the careful use of value and specific marks / brush strokes which then mimic
the actual texture.
Every textured surface reflects light in a very particular way. Think of the difference in texture
between a chrome ball and a concrete ball. The artist, through careful observation and the use of light
and dark values, recreates this actual texture visually on the picture plane.
You can follow our tutorial in Drawing Weathered Textures to get a feel for how this is done.

It is possible to create actual 3D texture on a flat surface by the addition of texturing compounds
which create a raised surface. Impasto paste is one way or you could even add sand etc. to the paint.
Even thick paint will leave the texture of the brush marks for the viewer to see.
You can follow our tutorial on Texture Painting Techniques to see how you can add texture to your
canvas.
 It is also possible to create patterns by the repetition of shapes that creates 2D texture. This is often
used in Op Art. (Optical Art).
Conclusion
I think you will agree that you have been using many of the seven elements throughout your artworks
without even realising it.
Now that you are however aware of these elements, you can look out for them as well as look out for
ways to incorporate more of them into your artworks.
This will add extra depth, dimension, texture and interest to your artworks, taking them to a whole
new level.

TOPIC 2. Principles of Design Examples and

Definitions
 CONTRAST
 RHYTHM
 PROPORTION
 BALANCE
 UNITY
 EMPHASIS
 MOVEMENT

1. Contrast
As a principle of art, contrast refers to the arrangement of opposite elements and effects. For example, light and
dark colors, smooth and rough textures, large and small shapes. Contrast can be used to create variety, visual
interest, and drama in an artwork.

In this example of contrast in art, Caravaggio created a scene of action and energy by contrasting both light/dark
and directional lines.

Caravaggio, Crucifixion of St. Peter, 1601

Käthe Kollwitz adds contrast using the elements of art line, value, and shape, but she also adds contrast of
emotion showing the despair of the mother in dark values and lighter sweeter elements like the heart on the
chair in the background.

Käthe Kollwitz, Misery, 1897

2. Rhythm
Rhythm is a principle of design that suggests movement or action. Rhythm is usually achieved through
repetition of lines, shapes, colors, and more. It creates a visual tempo in artworks and provides a path for the
viewer’s eye to follow.

In this rhythm example, the artist uses pattern, repetition of line, and contrast between curved and straight lines
to create rhythm in art.
Tughra (Official Signature) of Sultan Süleiman the Magnificent (r. 1520–66)
In this example of of rhythm in art, Mondrian repeats shape, color, and line to bounce the viewer’s eye around
the artwork.

Piet Mondrian, Broadway Boogie-Woogie, 1942-43

In this fun rhythm in art examples video, the differences between pattern, repetition, and rhythm are described
and put to music.

3. Proportion
Proportion is the size relationship between the various parts of an artwork. Artists can use the scale and
proportion to create sensations such as depth, realism, disorientation, and drama.

The human figure is scaled to appear larger than the city skyline. The proportions could indicate depth of
perspective or could symbolize the relationship of laborers in building a city.

In this example of proportion in art, the artist manipulates the individual proportions of the child as well as
create varying size relationship (scale) between the objects in the painting and the child to create meaning in the
artwork.
María Izquierdo, The Indifferent Child, 1947

In this proportion in art example, the artist make the hands out of proportion with the rest of their bodies to
enhance the meaning of the artwork. These men work with their hands, and their hands are exaggerated to show
how important their hands and work are to all the people of France.
Ben Shahn, We French Workers Warn You..Defeat Means Slavery, Starvation, Death, 1942

Scale
Scale in art describes the size of one object in relation to another and also refers to our perception of perspective
and proportion. Artworks that look realistic are scaled similarly to real world objects. Scale in art can also refer
to the overall size of the work.

In this scale in art example, the artist uses scale to show the space or depth between the girl and the house in the
background.
Andrew Wyeth, Christina’s World, 1948

In this example of scale in art, Magritte plays with scale to create an amusing composition.

René Magritte, Les valeurs personnelles (Personal Values), 1952

Hierarchical Scale
Hierarchical scale is a technique used in art, most often in sculpture and painting, in which the artist depicts
objects with an unnatural scale to show their importance or lack thereof. This size manipulation draws the
viewer’s eye where the artist wants attention.
Ancient Egyptian artists are well-known for their use of hierarchical scale. In this example of hierarchical scale
in art, the artist shows the man as largest (most important) and the child smallest (least important). The figures
are in proportion within the figure but out of proportion with the other figures in the picture.

Egyptian, Nebamun hunting in the marshes, fragment of a scene from the tomb-chapel of Nebamun, Late 18th
Dynasty, around 1350 B
For more examples of scale in art, check out our proportion and scale in art blog post!

4. Balance
As a principle of art, balance refers to the distribution of weight in a composition. While actual weight is a
factor in sculpture and architecture, the principle of balance most often refers to the visual heaviness of shapes
and forms in an artwork. An artwork’s balance affects the equality and tension of the composition and can lend
a feeling of calm or chaos to the work.

Symmetrical Balance
An artwork with symmetrical balance is well-balanced and looks even and stable. When one side of an artwork
mirrors the other, it has absolute symmetry. When the symmetrical balance is not exact, it is called bilateral
symmetry.
In this example of symmetrical balance in art, each animal on the left has its equal counterpart on the right. The
colors are not exact, but it is still considered symmetrical balance.

American, Cutout of Animals, second quarter 19th century

Asymmetrical Balance
An artwork with asymmetrical balance is “heavier” or “lighter” in some areas, looks unstable, and can make the
viewer uncomfortable. Asymmetric balance adds a dynamic look to artworks and often draws attention to focal
points in the composition.

In this example of asymmetrical balance in art, the artist balances the heavy black figure on the right with the
curtain on the left. If the curtain were a different size or a different color, the balance would be thrown off.
James Abbott McNeill Whistler, Arrangement in Grey and Black No.1, 1871
Radial Balance
An artwork with radial balance is arranged around a central component. Forms and objects in a radially
balanced composition appear to radiate out of the circular focal point of the artwork.

With radial balance, like in the example of radial balance below, one can imagine the artwork as equal pieces of
a pie.
England, Charger of Charles II in the Boscobel Oak, c. 1685
Looking for more examples of balance in art? Check out The Best Examples of Balance in Art post!

5. Unity
Unity, also known as harmony, is a design principle that refers to the cohesiveness of an artwork—how whole,
consistent, and complete it appears. Unity in art is not necessarily just a repetition of the same element over and
over again, but it is the pleasing combination of elements to create a harmonious composition.

In this example of unity in art, Botero creates unity through subject matter, through rhythm, and through
repetition of form, shape, and color.
Fernando Botero, The Musicians, 1991
In unity blog post, you will find more examples of unity in art created with shape/form, color, texture, line,
style, and in architecture.

6. Emphasis
As a principle of art, emphasis refers to the area of an artwork that dominates attention or draws interest. It is
often the place a viewer looks first. Artists create emphasis by contrasting the elements of art, such as color or
shape.
In this example of emphasis in art, Goya highlights the man in white through putting him in a spotlight, having
the man wear bright clothes, having many lines throughout the composition pointing to the man, and having his
emotional face be one of the only faces shown.

Francisco Goya, The Third of May 1808, 1814

Looking for more examples of emphasis in art? Check out The Best Examples of Emphasis in Art post!

Movement
Movement can be thought of in two ways – the first refers to how an artist depicts movement using the elements
and principles of art. The second way refers to the visual flow of an artwork, indicated by the path a viewer’s
eyes take as they look at the artwork.

Lines, edges, shapes, and colors can be utilized by the artist to point the way through an artwork as a map for
our eyes to follow.
In this example of movement in art, the artist shows the movement of the wind through the shapes of the paper.
The lines of the figures and the lines of the billowing clothing convey movement in art as well.

Hokusai, Ejiri in Suruga Province, 1830

Movement in Art Resources

7. Variety
Variety refers to the elements of a composition that differ from one another. Variety creates visual interest and
energy.

A lot of variety can make an artwork look busy or overwhelming. When paired with unity, variety offers the
viewer points of interest.
In this example of variety in art, Kandinsky uses a variety of lines, shapes, values, and colors.

Wassily Kandinsky, Der Sturm, Volume 10, Number 7, 1919

Variety in Art Resources

the Elements & Principles!