ART APPRECIATION Module 4: The Elements and Principles Arts

I. Preliminaries
Module Title: The Elements and Principles of Visual Arts and Design
Course Number: GE 103
Course Description: This is a study of the nature, function and appreciation of the arts in
contemporary society. This is designed to develop students’ appreciation of art including
observation, articulation, and critical thinking skills through visual arts. This course is
designed to fulfil requirements in the basic study of visual arts, which is to provide student
opportunities to develop understanding of human creativity, arts, values, and reasoning. Slide
lectures, related readings in the text, films, and museum visits will focus upon visual thinking
strategy as a communicative tool.

Total Learning Time: 9 hrs.

Overview:
This chapter tackles how every artist may make use of various visual qualities in creating à work of
art. These visual qualities are the elements. The range of elements includes line, color, value, shape,
space, and texture. Together with the principles of design, such as balance, harmony, variety,
movement, and rhythm, they will both be utilized to prepare and examine artworks for better
outputs, proportion, emphasis, understanding, and appreciation of the art forms. Music as an art
form which, is one of the most pervasive and potent arts classified under auditory art, is also
discussed. Artwork analysis and the rule of thirds are also included in the chapter.

Learning Outcomes:
At the end of the chapter, the students must:
1. Analyze the various the various elements present in Visual Arts.
2. Identify the Principles of Design
3. Identify and differentiate the various planes in art;
4. Define and translate principles of design in an artwork;
5. Create and Artworks depicting the various elements and principles of design;

Indicative Content:
This module will provide you with the following contents:
1. Visual Elements
2. Artworks analysis
3. The rule of the thirds
4. Principle of Arts

VISUAL ELEMENT
Introduction

The elements of art is the fundamental pieces that make up an artwork. Most works of art will make use
of many or all of the elements and principles of art. We often judge art by how effectively the artist
used these design fundamentals even before we learn about them. The elements of art are the building
blocks of an artwork: color, line, shape, form, value, texture, and space. They are the tools artists use
when creating an art. Below you’ll find an explanation of each of the elements of art, including artwork
examples and links to helpful materials for teaching the individual concepts.
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 ART APPRECIATION Module 4: The Elements and Principles Arts

The Element of Line

We see lines everywhere: along the streets, inside our homes, in all of nature, and in the many
infrastructures that make our cities. Lines...they add to the quality of all visual stimuli. We use lines
to write words, numbers, and symbols. We read lines of printed words. The lines on the map help
us find the best route from one place to another. We stand into a line to get into a movie theater, in
boarding the Light Rail and Metro Rail transits, and in waiting for a van or cab in our daily work to
reach our school or office. Lines make objects stand out against a background, they challenge our
perception, and arouse emotions, and they may enhance or lessen the aesthetic effects of our
surroundings.
When actors are studying a new role, they say they are memorizing their lines. We use lines to
draw pictures. Artists make use of lines in many ways and how lines are used may mean the
difference between a good art composition and a great art composition.

TYPES OF LINES
Different Lines
Horizontal Lines
These are parallel to the horizon. They do not slant. When you lie down on a flat surface, your body
forms a horizontal line. They are geometric, hard, and impersonal. Straight lines differ in the directions
they take. Some straight lines may move from left to right or vice versa. They are called horizontal
lines. Horizontals in artwork usually indicate calmness and rest. Landscapes and seascapes are
primarily horizontals.

Vertical lines
They start from the bottom going up or vice versa. They do not lean at all. Verticals show strength,
balance, and stability. Monuments of a country's heroes are usually depicted as verticals.

Diagonal lines
These lines are between a vertical and a horizontal line. Diagonals look as if they are either rising or
falling and have both positive and negative implications. On the positive, diagonals indicate movement
or action as may be seen in the posture of a runner or a horse in full run. On the adverse side, diagonals

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 ART APPRECIATION Module 4: The Elements and Principles Arts

may indicate stress, frustration, or defeat as may be seen from the posture of athletes when victory is
lost' or the posture of soldiers when defeated in battle

Zigzag lines
These are completed from a mixture of diagonal lines. The diagonals form angles and change direction
suddenly. Zigzags indicate chaos, conflict, and confusion as can be perceived in pictures of war and
pictures of most anime characters (the hairstyles are a give-away).

Curved lines
More technically, they are they 5 and natural and adjust direction curvilinear; are organic regularly.
When we illustrate wiggly lines, we are putting together a series of curves that may form spirals and
circles. The outlines of the human body particularly, the female form, are curved lines. A curved line
that goes around itself forms a spiral oftentimes seen in seashells. When curved lines continuously
move in opposite directions, they form wavy lines that show graceful movements.

Actual Lines and Implied Lines

In art, there also are actual lines and implied lines. For actual lines, the artist intentionally shows the
lines in an artwork, a painting for instance, to give the viewer an interesting aspect of the composition.
The lines drawn add to the quality of the whole work. Implied lines, however, are used by the artist to
make the viewer feel their involvement in interpreting the composition by seeing and connecting lines
where none actually exists. These lines seem to fade, stop, and/or disappear and then reappear
continuation or extension of an Edee (Ocvirk, 2002). Lines that are not there may suggest movement
and will add fluidity to the work.
The Element of Color
Color is the most expressive element of art. It shares powerful connection with emotion. Every day
from the moment our eyes open, we see all around a world filled with colors. We cannot even imagine
an existence without it. Colors enhance the beauty in all things.

It has been observed that colors appeal to our emotions and interact with the physiology of the visual
system to amaze us into the manner in which it is perceived. Colors are only seen when light surrounds
an object. Needless to say, the absence of light equals no perceived color. Colors, therefore, are a
property of light. This discovery was made by an intelligent man of science named Sir Isaac Newton.
He found that by passing a beam of light through a triangular piece of glass called a prism, white light
breaks into the visible color spectrum. The colors separate into the various wavelengths from the
longest, which is red, to the shortest, violet. Sir Newton realized that the colors of the rainbow come
from white light."
In art, colors play a vital role. An interesting piece of composition is usually organized based on the
artist's understanding of how colors impact the aesthetic and emotional aspect of the viewer.

Physical Properties of Color

To begin our understanding of how color works, we have to learn a few things about it. Colors are
endowed with characteristics that make each one different.
Hue. This pertains to the name for which the color is known. The hue is determined by the wavelength
of light physically given by the color. Examples of hues are red, orange, yellow, green, violet, indigo,
and blue. These are also the colors of the visible spectrum.

Value. This characteristic refers to the lightness or darkness of a color. The value of colors pertains to
the absence of white or black. Hues can exist in different degrees of values. When white is added to a
hue, the result is called a tint. The more quantity of white is added the lighter will be the value of the
hue. On the other hand, when black is mixed with a hue, the result is called a shade. The greater the
quantity of black added, the darker is the value of the hue. Thus, light blue (tint) has lighter value
compared with navy blue (shade), which has a dark value.

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Intensity or Saturation. This characteristic refers to how pure the color is. Pure hues pertain the color
is. to the absence of white, black, or gray. Colors high in saturation (high intensity) tend to be bright
and colors low in saturation (low intensity) tend to be dull. Intensity distinguishes between a brighter
appearance of the hue from a duller one of the same hues.

THE COLOR WHEEL

Additive and Subtractive Colors

In reality, two color systems exist depending on the source. Colors of light, like what was discovered
by Sir Newton, and colors of pigments have different characteristics. They are either additive or
subtractive. Colors of light are additive in the sense that when you combine the colors the result will be
white. Colors of pigments (paints) are subtractive. Combining these colors results in black, for each
cołor in this mixture cancels out each other's brightness.

TYPES OF COLORS
Primary Colors. The color wheel is primarily based on pigments making the mixture subtractive, In
the color wheel can be seen the three primary colors, which are red, yellow, and blue. In colors of light,
it should be noted that the primaries are red, blue, and green. They are called primary colors because
these colors cannot be produced by the mixture of any other colors.
Secondary Colors. These colors result from the combination of two primary colors in equal amounts.
Thus, the secondary colors are orange, which results from a combination of red + yellow; green, which
is a combination of yellow + blue; and violet, which is a combination of red + blue. For colors of light,
the secondary colors are yellow, which is of light, secondary colors are yellow, which is a combination
of red + green light; cyan, a combination of blue + green light; and magenta, which is a combination of
red + blue light. Notice that secondary colors for pigments and light are really different owing to the
subtractive and additive characteristics of the colors.

Intermediate Colors. These colors can result from a combination of a primary and a secondary color.
The intermediate colors are: red-orange [R + (R + Y)] , yellow-orange [Y+ (R + Y)], yellow-green [Y+
(Y + B)], blue-green [ B + (Y + B)], blue-violet [B + (R + B)], and red-violet [R + (R + B)]. The
primary colors (3), secondary colors (3), and the intermediate colors (6) are the twelve (12) colors that
are properly positioned in the color wheel.

Tertiary Colors.
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In most books, intermediate colors and tertiary colors are considered to be one and the same. Further
research into colors as an element of art suggests that the two are not the same. In the book, Art
Fundamentals, by Ocvirk (2002), it was stated that tertiary colors are created by combining any two
secondary colors or by neutralizing one color by adding its complement or opposite color in the color
wheel. Thus, browns and olive greens and a host of some other colors are tertiary colors
Neutrals.
When we look at pigments, we realize that not all of them show color. Black, white, or gray do not
share the same characteristics of any color in the spectrum. Because they show no color quality, they
are called neutrals. White, for instance, can be described as the presence of all colors because it occurs
when a surface reflects all of the color wavelengths equally. Black, on the other hand, is usually
described as the absence of color. It was observed to result when the surface absorbs all of the colors
and reflects none of them. Grey is described as an impure white. It is created by a partial reflection of
all wavelengths of color. It is to be emphasized that neutrals are concerned with the quantity of light
that is reflected whereas colors are more of the quality of light that is reflected (Ocvirk, 2002).

Warm Colors and Cool Colors.

Colors also have "temperature" that may be used as another way to organize a composition. All of the
colors can be grouped into "warm colors" and "cool colors." Colors associated with the sun and fire are
considered warm. Red, orange, and yellow are warm colors and seem to advance when placed in a
composition. Any color containing blue, such as green, violet, and blue-green, are associated with air,
sky, earth, and water and are considered to be cool colors. These colors recede when placed in a
composition. Artists should understand these relationships to augment the harmonious effect of colors
when placed side by side in a composition.

Colors and Emotion

Studies were conducted regarding the relationship between colors and the individual. It has been
discovered that colors appeal to the emotion and enhance the mood. The physiology of the brain reacts
to the presence of colors transmitted to it by the visual system. Warm, bright colors make us happy and
excite us while cool colors relax us and encourage us to take it slow. Reds, pinks, and yellows stimulate
us, making us feel warm and passionate; greens and blues, on the other hand, suggest calmness and
peace.
Though the effect of color may be universal, the meaning attached to it is culture specific. What a
particular color is to one culture may have a different meaning in another. White, which is a favorite for
weddings, may not be the most favorite in weddings of some other cultures.

The Element of Shape

Other than lines and color, the mind through the visual system makes sense of its surrounding by
determining what shapes are present. Shape is the next interesting element of the visual arts. Shapes
result from the coming together of lines enclosing an area and separating it from its surroundings
(Fichner, 2013). The interpretation of the enclosed area that is formed presents a challenge to the brain.
Aside from lines, color patches, and texture can also give the impression of shape. In a three-
dimensional art, like architecture and sculpture, the shape can be discerned by viewing the artwork
against its background.
In the process of human perception, German Gestalt psychologists have discovered that the way the
human brain processes information is done by organizing objects/stimuli into groups based on
similarity, nearness, and figure-ground relationships. After this process, a perceptual "totality" is
formed giving the viewer the "wholes" that now are labelled as shapes.

Kinds of Shape There are many kinds of shapes. Geometric shapes, for instance, are regular and
precise and present an industrial feel to the viewer. These shapes may be rectilinear or curvilinear. On
the other hand, shapes that have a natural appearance and represent objects from nature are said to be
organic. Organic shapes are said to have a natural appearance and are usually curvilinear and irregular
(Fichner, 2013). Shapes may also be biomorphic and amorphous. Biomorphic shapes manifest some

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qualities of biological organisms whereas amorphous shapes exist without any basis from either nature
or geometry.

Shape and the Content of the Composition

In the context of presenting an artistic composition, artists use shapes to convey initially what they
think, imagine, or feel. The shapes that artists use are an expression of these ideas rather than an
objective representation of the outside world. What shapes are chosen and presented is more of a
reflection of the personality of the artist rather than

what is considered to be objective reality. Artists usually associate shapes with something consciously
or unconsciously significant in their psyche. Shapes, like the other elements of art, suggest certain
meanings. Some common meanings conveyed by squares, for instance, are stability, symmetry,
independence, and monotony; circles may suggest confinement and self-reliance; ovals suggest
creativity while stars may mean reaching out (Ocvirk, 2002). The meanings associated with the
different shapes depend on their character, complexity, and how they are used as part of the whole
composition and the perceptive sensitivity of the viewer.

The Element of Space

Space is a tricky element of the visual arts. It involves both the physiological capability of the visual
system and the physical manipulation of the two-dimensional surface (picture plane) to give the viewer
an illusion of depth or distance.

Physiological Perception of Space

On the physiological aspect, two processes should be understood. One involves stereoscopic vision and
the other, kinesthetic vision (Ocvirk, 2002). Stereoscopic vision gives the viewer a perception of depth
because of the distance between the two eyes. This distance allows the viewer to see two presentations
of the object, one from each eye. This is known as retinal disparity. Retinal disparity gives the viewer
two images of the object then physiologically merges them into one image, thus, giving the viewer a
perception of depth or distance. Kinesthetic vision, on the other hand, involves the movement of the
eyes when looking at or viewing the object. It was observed that more ocular movements occur when
the object is near, and less when the object is far. Thus, physiologically, these two visual processes
allow the viewer to perceive depth and distance.

The Illusion of Space

Over the years, artists have been endlessly seeking ways to present depth or distance in a two-
dimensional artwork. What they have come up with are techniques that allow viewers to perceive
space on a picture plane when actually none exists (hence, the illusion). The following are some
ways of presenting depth on a picture plane:

Overlapping. When objects are grouped, not all parts of some objects will be seen. The tendency
is objects that are near will be seen as complete or whole while objects that are far would be partly
covered by objects in front of them. This gives the impression of near and distant objects allowing
the viewer to perceive space in the composition.

Relative Size and Linear Perspective. Objects that are big will be perceived as near compared
with objects that are far. The premise is: The farther the object is from the viewer, the smaller is the
size of the object. Relative size is supported by the concept of linear perspective. Parallel lines that
meet at the horizon give the illusion of distance. Objects, therefore, become smaller the nearer they
are to the point in the horizon where the two lines converge.

Atmospheric Perspective. This is also known as aerial perspective. The illusion of depth is created
by techniques known as gradient (a gradual change). This may be a gradient in texture, brightness,
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color intensity, and combination of warm and cool colors. To understand gradient better, the
picture plane is divided into three parts: the lower part is the foreground, which is nearest to the
viewer, the second is the middle ground, and the upper part of the picture plane is the background.
In applying gradient to give the illusion of depth, objects in the foreground would be bigger,
detailed, and brighter. As the eye moves to the middle ground, the objects' appearance would
gradually change. In the middle ground objects would be smaller compared with those in the
foreground. There would be less detail, and colors are not so bright. When the viewer looks at the
background, objects will be smaller, they will have very little detail, and the colors are hazy giving
the illusion of distance.
The Effect of Space
Space as an element of the visual art have fascinated both the artists and the viewers. Artists'
fascination is based on discovering any other ways to manipulate the picture plane and create the
illusion of "endless" space. Viewers, stare in awe at what was achieved by the artists. Artists
allowed them to see space with the eye when the mind deems its existence improbable. For
according to Ocvirk (2002), "art is a product of human creativity and is always dependent on
individual interpretations and responses."

The Element of Value (Light and Shadow)

The visual arts is known particularly because of the element of light. Light makes viewing any
artwork possible, and it is sad to say that without light this cannot be done. On the part of the artist,
he does not only make sure that his work is viewed under appropriate lighting but also explores
how he may use this characteristic of light to add quality and depth to his composition. When light
is discussed, it always follows that its counterpart, which is shadow, will have to be dealt with.

This gradual change from light to dark and vice versa is what is referred to as value. The focus of
the discussion will particularly be on a kind of value known as achromatic value. Achromatic value
refers to changes in the amount of reflected light from white to grey to black and from black to
grey to white. Value most significantly results in the illusion of form and depth in a composition.
Achromatic Value
When light falls on an object, the light rays do not shine equally on all parts of the object, and on
the area where light is blocked by the object, a cast shadow results. Cast shadows may have
different degrees of values ranging from grey to black. The technique of using light and shadow in
painting is known as chiaroscuro. Leonardo da Vinci exploited the effects of chiaroscuro in his
masterpieces. He even introduced a technique called sfumato in which the gradual blending of light and
shadow gave the figures in his composition a more realistic form and depth, which is quite evident in
the Mona Lisa. Another renowned artist of the 16th century named Caravaggio went a step further with
chiaroscuro and exaggerated the use of shadows in his paintings known as the "dark manner." This
"dark manner" of painting was what characterized paintings of the Baroque period. "Dark manner" or
the exaggeration of chiaroscuro is known as tenebrism. It was the artist Rembrandt who perfected
tenebrism in his paintings.
The Element of Texture
A review of all the elements that were discussed would indicate that line, color, shape, space, and
value all deal with the sense of sight. The next element, texture, taps into two sensory systems. The
sense of touch, which gives rise to tactile sensations, and the sense of sight, which gives the viewer
visual sensations.
Texture is derived from Latin for weaving" (Fichner, 2013). It usually refers to the feel of the
surface of woven fabrics. Presently, texture is an important element both for two-dimensional and
three-dimensional arts. As an element, texture can be defined as how the surface of the material
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feels and looks like. It is important to note that texture is not only felt but also seen. Seeing texture
without touching, it is what is known as visual texture.
Looking and feeling surfaces can give descriptions, like smooth, rough, soft, hard, cold, and warm.
The characteristic of the surface largely depends on the degree to which the surface is broken into
its components. This will result in sensations of the appearance and feel of the surface. For
instance, when the surface is rough, some light rays are blocked, resulting in light and dark
patterns. Shiny surfaces, on the other hand, cause light rays to bounce more evenly giving the
viewer a smoother appearance. These are two instances that show how light is affected by
characteristic of the surface, thus, allowing the viewer to know texture not only by touch but also
by sight.
Types of Texture There are four basic types of texture: actual, simulated, abstract, and invented
texture (Ocvirk, 2002).

DIFFERENT TEXTURES
Actual Texture. This type of texture refers to the real feel and look of the surface of the object. This
usually is a characteristic of three-dimensional artworks. The real feel of the material used for sculpture,
for instance, would give the characteristic of how the surface looks and feels like.

Some two-dimensional artists, however, can present texture in the paintings by putting a thick layer of
pigment on the surface. These are known as impasto paintings, which is a characteristic of Van Gogh's
work. Other artists began adding interesting textures to their paintings by pasting real objects, like
paper, strings, leaves, and any other objects. This is now What is known as collage. This technique was
first introduced by Picasso and Braque in their abstract compositions.

Abstract Texture. In this type of texture, the artist would focus on one aspect of the real texture and
emphasize it, thus, modifying the texture of the whole composition. The effect is more for decorative
and aesthetic effect depending on the particular needs of the artist. Here there is no attempt to fool the
eye, but modification of texture would enrich the whole composition.

Simulated Texture. This type of texture refers to a surface character that looks real but is not (Ocvirk,
2002). Simulated texture is a skill of the artist to exactly copy reality. This artwork, because of its
attention to detail, can be mistaken for real objects. Interior designers use this technique of simulated
texture to imitate the surface and appearance, for instance, of real marble. The purpose of simulated
texture is to "fool the eye." Imitation of reality is the challenge of simulated texture.
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Invented Texture. This texture is a product of the artist's imagination. This presentation is usually seen
in abstract artwork. Though solely from the artist's mind, invented texture may still represent something
that is real.

The Element of Time and Motion

Motion occurs through time (Fichner, 2008). Over the centuries, artists have collaborated to bring to the
viewer the concept of movement and time in their artworks. Motions can show direct actions in which
movement is perceived immediately or show an intended path for the viewer to follow to achieve the
effect of motion across the visual field. So far, they have experimented with their medium and have
come up with two techniques in achieving motion and time in both two-dimensional and three-
dimensional art. These techniques are actual motion and implied motion.
Actual Movement. In this type of artwork, the artist incorporates actual movement in art known as kinetic
art. These are particularly observed in modern sculptures. The actual movements may be achieved in several
ways: This may be through the aid of nature, such as air and water currents or may be mechanically driven
either by the characteristic of the medium or some energy source.
Artists, like Alexander Calder (The Star in 1960), employed changes in air currents to make his sculpture
move. He called his artwork mobiles. In nature-driven artworks, like Calder's, the artwork presents itself
differently each time.
Implied Movement. To show implied movement in art, a variety of lines may be used together with some
degree of repetition, changes in the position, scale, or size of the objects, and varying proportions that can
create the perception of movement or passing time in a two-dimensional piece of static art. An example of
this is Marcel Duchamp's "Nude Descending a Staircase." The effect and imagery created by this work
implies motion and passing of time giving the viewer the illusion of movement. This technique of creating
optical sensations through repetition and manipulation of color, shape, and line is what is known as Op Art
(Fichner, 2013).

ARTWORK ANALYSIS
The analytic study of how the various elements and material features of the art work produce meaning
should lead to a more stable and consensual field of meaning leading to a better understanding of an artwork
by an ordinary audience or viewer. The analysis would turn away from erratic, whimsical, purely subjective,
and impressionistic readings of the artwork. Having taken note of the information provided by the basic
documentation of the artwork, one can see three planes of analysis or in reading the image: the semiotic, the
iconic, the contextual.
a. Semiotic (Name of the artist, title of the work, year the work was created, dimension or size, medium or
technique, location of the work, whose collection or gallery). This is like a credit line, which lists important
facts about a work of art.
b. Iconic (Subject - type, kind, source, and how the artist describes the subject).
c. Contextual (meaning of the work, symbols, ideas, concepts). The work of art may contain references and
allusions, direct or indirect, to historical figures and events, as well as to religious, literary, and
philosophical ideas and values, which are part of the meaning of the work.

Semiotic
Title:
A Sunday Afternoon Island of La Grande Jatte
Artist: Georges-Pierre SEURAT
Dimensions: 2.08 m x 3.08 m (81.7 in x 121.25 in)
Location: Art Institute of Chicago Building
Genre: History painting
Medium: Oil on canvas
Periods: Pointillism, Neo-impressionism
Year: 1884-1886
Subject: People relaxing at la Grande Jatte, Paris

See YouTube video

([Link]

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Iconic
Seurat spent two years working on his most famous work, composed of tiny dots of contrasting or
complementary colors intended to fuse in the viewer's eye a vibrant effect. The artist depicted people,
city dwellers, gathered and relaxing in a suburban park on an island in the Seine River called La Grande
Jatte. On an enormous canvas, the artist depicted all kinds of people stroll, lounge, sail, and fish in the
park. The picture was unusual in showing people belonging to different social classes frequenting the
same park on an island in the Seine.
The artwork itself highlighted the controlled surface of the painting, the use of aerial perspective, which
gives an impression of space, and Seurat's deeply shadowed foreground that leads into a light, bright
distance.
Contextual
Seurat uses the technique of optical color mixture, also known as pointillism or divisionism, to really
accent and express his ideas and originality. When dots of pure color are placed close together, they
blend and create the illusion of some other hues. Using newly discovered optical and color theories,
Seurat rendered his subject by placing tiny, precise brushstrokes of different colors close to one another
so that they blend at a distance. Over the past several decades, many scholars have attempted to explain
the meaning of this great composition. For some it shows the growing middle class at leisure. Others
see it as a representation of social tensions between modern city dwellers I different social classes, who
gather in i he same public space but do not communicate or Interact.

THE RULE OF THIRDS

One of the most useful composition techniques in photography is the rule of thirds. This is commonly
known as the basic knowledge in composition that most photographers use when they are placing items
within the frame for their masterpiece. it is considered to be an important concept to learn as it can be
used in. all types of photography to produce images, which are more engaging and better balanced.
What is the Rule of Thirds?
In its simplest form, the rule of thirds suggests that you should imagine a tic-tac-toe or pick-pack-boom
board on the frame of the picture. It involves mentally dividing up your image using two horizontal
lines and two vertical lines. You then position the important elements in your scene at the points where
they meet along those lines.
How to Use the Rule of Thirds
When you are framing a photo, you just have to imagine that the scene is divided into three. By using
the rule of thirds, the couple is placed on the left intersection of the frame, the picture contains a visual
mass, as what the viewer's eyes is drawn to. When you see the portrait of this couple, your eye is
immediately drawn at their back, they have visual mass.
Try to include another interesting object, the vehicle, which is commonly used in the Philippines as means of
transportation, such as the tricycle in the photo above, and position it according to the rule of thirds. This provides
an “anchor," a natural focal point for the scene. The rule of third works here, and it adds interest to the scene by
balancing an object with visual mass with the other larger area of the negative space.

THE LIGHT HOUSE

This image (right)
shows vertical
subjects, such as this
lighthouse, which can
split a photo in two, in
much the same way as
a horizon can do
horizontally.

To avoid this, position

them off-center in

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your composition. Clearly then, the rule, of thirds assists the artist in harmonizing areas of greater visual mass with areas of
negative space.

When photographing moving subjects, such as the woman riding a horse, position them as normal, but
also pay attention' to the direction they are moving. As a general rule, you should leave more space in
front of them than behind, to show where they are going. The negative space leads them to the place
where they are going.

PRINCIPLES OF ART
Principles of Design refer to the visual strategies used by artists, in conjunction with the visual
elements of arts for expressive purposes.
1. Balance It is one of the principles of design; it is classified into three: symmetrical, asymmetrical,
and radial.
a. Symmetrical: also known as formal balance, as two equal parts of the pictorial plane of an artwork
placed like mirror images of each other. The similarity is so precise that each half is seen one and the
same.
b. Asymmetrical: also known as informal balance, where elements on either side of a composition do
not reflect one another or when several smaller items on one side are balanced by a large item on the
other side, or smaller items are placed further away from the center of the screen than larger items.
c. Radial Symmetry: balance where all elements radiate out from a center point in a circular fashion
to all four quadrants of the shape's constraining plane.

2. Harmony In the principles of design, this can be described as sameness, the belonging of one thing
with another.

3. Proportion This is the size relationship of forms and shapes. Good proportion causes a sense of
unity and harmony.

4. Dominance/Emphasis This happens when the artist creates an area of the composition that is
visually dominant and commands the viewer's attention. This is often achieved by contrast.

5. Variety This is a principle of design that refers to a way of combining visual elements to achieve
intricate and complex relationships. It is a technique used by artists who wish to increase the visual
interest of their work.

6. Movement This is the result of using the elements of art such that they move the viewer's eye around
and within the image. A sense of movement can be created by diagonal or curvy lines, either real or
implied, by edges, by the illusion of space, by repetition, by energetic mark-making.

7. Rhythm In the principles of design, this is a continuance, a flow, or a feeling of movement achieved
by the repetition of regulated visual information.

WORK SHEET NO 4: THE ELEMENTS AND PRINCIPLES OF VISUAL ARTS AND DESIGN

Name: __________________________________________________
Course/Year/Section: ___________________________________ Score:
____

I. Recall: Test your memory of the previous discussions and see how well you
can remember.

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 ART APPRECIATION Module 4: The Elements and Principles Arts

1. _______________ This is a principle of design that refers to a way of combining visual

elements to achieve intricate and complex relationships. It is a technique used by
artists who wish to increase the visual interest of their work.
2._______________ This is the result of using the elements of art such that they move
the viewer's eye around and within the image. A sense of movement can be created
by diagonal or curvy lines, either real or implied, by edges, by the illusion of space, by
repetition, by energetic mark-making.
3.______________In the principles of design, this is a continuance, a flow, or a feeling of
movement achieved by the repetition of regulated visual information.
4._______________________ It is one of the principles of design; it is classified into three:
symmetrical, asymmetrical, and radial.
5._________________ also known as formal balance, as two equal parts of the pictorial
plane of an artwork placed like mirror images of each other. The similarity is so
precise that each half is seen one and the same.
6.__________________ also known as informal balance, where elements on either side of
a composition do not reflect one another or when several smaller items on one side
are balanced by a large item on the other side, or smaller items are placed further
away from the center of the screen than larger items.
7._____________________ balance where all elements radiate out from a center point in a
circular fashion to all four quadrants of the shape's constraining plane.
8._____________In the principles of design, this can be described as sameness, the
belonging of one thing with another.
9._____________ This is the size relationship of forms and shapes. Good proportion
causes a sense of unity and harmony.
10._______________ This happens when the artist creates an area of the composition
that is visually dominant and commands the viewer's attention. This is often achieved
by contrast.
11.___________An element of art defined by a point moving in space. Line may be two-
or three-dimensional, descriptive, implied, or abstract.
12.___________ An element of art that is two-dimensional, flat, or limited to height and
width.
13.__________ includes height, width and depth (as in a cube, a sphere, a pyramid, or a
cylinder). Form may also be free flowing.
14.___________The lightness or darkness of tones or colors. White is the lightest value;
black is the darkest. The value halfway between these extremes is called middle gray.
15.___________An element of art by which positive and negative areas are defined or a
sense of depth achieved in a work of art.
16.___________An element of art made up of three properties: hue, value, and
intensity.
17.___________is the name of color
18.___________ hue’s lightness and darkness (a color’s value changes when white or
black is added)
19.___________ quality of brightness and purity (high intensity= color is strong and
bright; low intensity=color is faint and dull)
20._______________ An element of art that refers to the way things feel, or look as if
they might feel if touched.
21._______A principle of design that is the visually satisfying effect of combining
similar, related elements
22._______It is one of the most useful composition techniques in photography.
23._______The principle of visual organization that suggests that certain elements
should assume more importance than others in the same composition.
24.__________________ refer to the visual strategies used by artists, in conjunction with
the visual elements of arts for expressive purposes.
25._______________ The colors that is a result of combining a primary and a secondary
color.
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 ART APPRECIATION Module 4: The Elements and Principles Arts

II. Activity:
Title: SCRIBBLING SOUL
Materials: one-half illustration board paper (individual), oil pastel color
or any medium available.
Instructions:
• On a one-half illustration board, participants/students will scribble until
all the surface has already been filled out.
• Draw loosely and spontaneously with an uninterrupted movement of
your hand and shoulder.
• Make big swirls all over the paper. Don't stop your hand, and don't lift
the pencil from the paper. Make some tight curls; then make some jagged
zigzags, loops, coils, and points until the illustration board is fully
covered.
• with the use of thick pen outline the scribbled parts bases on what image
was impressed to you and apply color or fill-in your scribble using
primary, secondary, and tertiary colors.
Title: “BROKEN”.

Personal reflection After doing the above activity students can explain
their artwork using the guide question below.
(YOU ARE REQUIRED TO PRESENT AND EXPLAIN YOUR REFLECTION DURING THE
CLASSMEETING THE SUBMIT THIS PORTION.)
Questions to be answered (When explaining the artwork):
I. What is the subject?
2. Background: This can refer to your setting or location of the subject.
3. Observations: What are our observations when doing the art work?
4. Color Scheme: Warm or Cool colors
5. Observations: In using color and doing the color aspect of your work Port
6. Format of the work: Landscape or Portrait
7. Final Title:
8. Meaning of the work:
WATCH SAMPLE OF SCRIBBLE ARTS

[Link]
&attachment_id=389878132327731&message_id=mid.%24gAA47zN59Fcl8gcrsx12UIRQiYn0Q

Scribble Drawing Art Lesson for Kids!

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 ART APPRECIATION Module 4: The Elements and Principles Arts

[Link]

Art Appreciation - Soul Scribbling Making

References:
Panisan,Wilson [Link]. (2018). Art Appreciation. Malabon City: Mutya Publishing House Inc.
Casib, B. Jr., Garing, D. and Casaul, J. (2018) Art Appreciation. Manila, Philippines Rex Book
Store.

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