Republic of the Philippines
Mountain Province State Polytechnic
College Bontoc, Mountain Province
ELEMENTS AND PRINCIPLES OF ART
Module 4 of 6 Modules
Art Appreciation
Amelia Mary Atiwag
CP# 09078922324
Dennia Luz A. Bacwaden
CP# 09071506463
Beryl Jo A. Bimmuyag
CP# 09453505297
Cristine D. Olayen
CP# 09104146287
Delia A. Sumeg-ang
CP# 09217357795
Martin T. Wapan
CP# 09467406960
Charlene Joy A. Tuazon
CP# 09304641887
Eloisa F. Chungalan
CP# 09213176729
Rylene I. Layagan
CP# 09487875900
Gemeilyn B. Pachao
CP# 09107--6971
Teacher Education Department
1st Semester, School Year 2021-2022
INTRODUCTION
Art is something that is perennially around us. Some people may deny having to do
with the arts but it is indisputable that life presents us with many forms of and
opportunities for communion with the arts. Plato had the sharpest foresight when he
discussed in the Symposium that beauty, the object of any love, truly progresses. As one
moves through life, one locates better, more beautiful objects of desire, can never be
totally content with what is just before him. Human beings are drawn toward what is good
and ultimately, beautiful.
This module exemplifies exploration of arts in nature and in the environment and
how these are functioned in the society.
The number of hours allotted for this module shall be for 3 hours. You are expected
to finish the module in one week.
LEARNING OUTCOMES
At the end of the module, you should be able to:
1. identify the different elements of visual and auditory art;
2. differentiate the principles of art;
3. provide examples of the interrelatedness of some of the elements and principle of
art; and
4. explain the relevance of the elements and principle of art in the study art and its
products.
PRE-TEST
Let us examine how much you already know about art. Answer each question below.
1. These are lines that bend or coil. They allude to softness, grace, flexibility or even
sensuality
a. shape and form c. diagonal and crooked lines
b. curved lines d. horizontal and vertical lines
2. These shapes find origin in mathematical propositions. These include shapes such as
squares, triangles, cubes, circles spheres and cones.
a. organic b. space c. oblique d. geometric
3. This is used by artists to create the illusion of depth and solidity, a particular mood,
communicate feeling, or in establishing a scene.
a. intensity b. value c. hue d. movement
4. This element in is an artwork is experience through the sense of touch.
a. texture b. surface texture c. harmony d. melody
5. The element of music that refers to the loudness or quietness of music
a. timbre b. texture c. rhythm d. dynamics
6. This principle refers to the distribution of the visual elements in view of their placement
in relation to each other.
a. scale and proportion c. emphasis and contrast
b. balance d. unity and variety
7. Lines, shapes, colors, and other elements that may appear in an artwork in a recurring
manner.
a. pattern b. movements c. unity and variety d. repetition
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8. This is the color’s brightness or dullness. It is identified as the strength of color whether
it is vivid or muted.
a. intensity b. value c. hue d. texture
9. The element of music that situates it in time. It is the pulse of the music
a. melody b. harmony c. rhythm d. dynamics
10. Forms of balance that there is a central point in the composition, around which
elements and objects are distributed.
a. symmetrical b. radial c. asymmetrical d. balance
LESSON 1: Element and Principles of Art
LEARNING OBJECTIVES
At the end of the lesson, you should be able to
1. identify the different elements of visual and auditory art;
2. differentiate the principles of art;
3. provide examples of the interrelatedness of some of the elements and principle of
art; and
4. explain the relevance of the elements and principle of art in the study art and its
products.
LET’S ENGAGE.
We are to begin the journey into this module by accessing your ability to
define/describe the following functions of art in your own words/understanding. This is one
portion of the lesson.
1. Personal
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2. Social
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_________________
3. Cultural Function
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
___________________
4. Aesthetic Function
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
____________________
5. Social Function
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__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
_____________________
LET’S TALK ABOUT IT.
The world is made of arts. Our ability to create and perceive the colorful aesthetic
beauty of art which helps us to sense and give meaning to the world we live in. Arts are
generally repeated structures. Most of the arts we see in the environment is manufactured
and man-made, crafted by the work of their creative imagination. We can see the beauty
of arts in the streets, in the parks and everywhere. Life is almost made out of art; it is a
way of living. So, let us explore to learn more about the topics
The elements of art and design are line, shape and form, space, color, and texture.
1. Line
A line refers to a point moving at an identifiable path- it has length and
direction. It also has width. It has the capacity to either define the perimeters of
the artwork and or become a substantial component of the composition. Although
a line is “simple,” it has variations in view of its orientation/direction, shape, and
thickness. These variations import not only the visual elements into the artwork,
but suggest meaning or message being conveyed by the artist.
Known for using lines to provide the outline or contour of the figures he
portrays in his work, Keith Haring first executed the public mural “Todos juntos
podemos parar el sida” (Together We Can Stop AIDS) in Barclona in 1989. In 2014,
it was recreated at the foyer of the Museu d’ ArtContemporani de Barcelona
(Barcelona Museum of Contemporary Art) to commemorate it. Haring battled with
HIV/AIDS to which he succumbed to in 1990.
Keith Harin, “Todos jutos podemos parar el sida” (We Can All Together Stop AIDS). Plastic paint on wall.
MACBA Collection. Barcelona City Council long-term. https:// [Link]/wiki/Fitxer
Different images of lines:
Horizontal and vertical lines – refers to the orientation of the line. Normally associated
with rest or calm. Landscapes often contain these elements as works like these often
connote a visual sense of being parallel to the ground.
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[Link]
[Link]
https: [Link]
Diagonal and crooked lines – diagonal lines convey movements and instability,
although the progression can be seen. Crooked or jagged lines, on the other hand, are
reminiscent of violence, conflict, or struggle.
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Francisco de Goya, “Porque esconderlos. [Link]
Curve lines – these are lines that bend or coil. They allude to softness, grace, flexibility,
or even sensuality.
One of the most important Spanish artists is Francis de Goya. Known for his prints,
he is a master of etched works and use of acquaint. He made use of this medium to
articulate his political views about the ills of society, war scenes, and even the dreamlike
and grotesque while still engaging with what was happening around him. As with most
etchings and other types of prints, lines are dominant visual components.
Theodore Gericault, “The Raft of Medusa” (1818-19) Oil on canvas. Musée du Louvre, Paris. [Link]
2-3. Shape and Form
These two are related to each other in the sense that they define the space
occupied by the object of art. Shape refers to two dimensions: height and width, while
form refers to three dimensions: height, width, and depth. Even if shapes are part of a
bigger picture, each can be identified by breaking the visual components apart and
making distinctions based on what we know and what we have seen. Two categories can
be used as a broad distinction
a. Geometric – these shapes find origin in mathematical propositions. As such, its
translation and use are often man-made. These includes shapes such as square,
triangles, cubes, circle
b. sphere, and cones.
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Piet Mondrian, “Composition with Color Planes and Gray Lines 1” (1918) on canvas.
[Link]
c. Organic – organic shapes are those readily occurring in nature, often irregular
and asymmetrical. The design of the vase is foliage, a sample from a series that
made use of morning glories.
Louis Comfort Tiffany (designer), Tiffany Furnaces (Maker), Vase made of favrile glass. (c.a. 1913), Gift of
Louis Comfort Tiffany Foundation, 1951. The Metropolitan Museum of Art, New York. [Link]
Shapes may also be implied. For instance, Raphael’s famous painting “The
Madonna of the Meadows” depicts three figures: Mary the young Jesus (right), and the
young John the Baptist (left). The positions in which the group takes allude to a triangular
shape reinforced by the garb of Mary.
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Raphael, “The Madonna of the Meadows” (1505). Oil on panel. Kunsthistorisches Museum, Vienna
[Link]
4. Space
Related to shape and form in space. It is usually inferred from a sense of depth,
whether it is real or simulated. Real space is three-dimensional. Like what has been
previously mentioned, sculptures are a perfect example of artwork that bear this element.
However, this can only be manifested in two-dimensional artworks through the use of
different technique, or the use (or non-use) of area around a drawing or picture.
Anish Kapoof, “Cloud Gate” (2004), located in Chicago,Illinois
[Link]
In the middle of the AT & T Plaza at the Millennium Park in the Loop Community
area in Chicago, the iconic “Cloud Gate” occupies a considerable space. Shaped like a
bean, hence its other referent, the public sculpture was unveiled in 2004. The in the
middle offers a gap in which people can pass through and gaze at the sculpture in a
different perspective. However, not all works are sculptures. In two-dimensional artworks,
they may be implied.
a. Positive and negative space – usually identified with the white space is the
negative space. The positive space, on the other hand, is the space where shadow
is heavily used.
b. Three-dimensional space – can be simulated through a variety of techniques
such as shading. An illusion of three-dimensionality can be achieved in a two-
dimensional work.
5. Color
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Color is perhaps one of the elements that enhances the appeal of an artwork. Its effect
has range, allowing the viewer to make response based on memory, emotion, and instinct,
among others. This element is a property of light as it is reflected in the object. Color is
not intrinsic to an object and without light, one cannot perceive color. Much of what we
know about colors begins with the notion of a color Theory that was first unraveled by the
experiments undertake by Sir Isaac Newton in 1666. A ray of sunlight passing through a
prism reveals an array of colors akin to that of a rainbow.
Color wheel courtesy of Jaime Costigilio. [Link]
The color wheel corresponds to the first property of colors.
a. Hue – this dimension of color gives its name. It can be subdivided into: Primary
colors, Secondary colors, and Tertiary colors.
b. Value – this refers to the brightness or darkness of color. Often, this is used by
artists to create the illusion of depth and solidity, a particular mood, communicate a
feeling, or in establishing a scene
c. Intensity – this is the color’s brightness or dullness. It is identified as the strength of
color, whether it is vivid or muted. To achieve a specific intensity of a color, one may
add either gray or its complementary color.
Bright or warm colors – positive energy
Dull or cool colors
Monochromatic harmonies – use the variations of hue. An example is
Claud Monet’s “House of parliament.”
Claude Monet, “houses of Parliament” (1900/). Oil on Canvas. Mr. and Mrs. Martin A. Ryerson Collection
(Bequeathed, 1933). Art Institute Chicago. [Link]
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Complementary Harmonies – Involve two colors opposite each other in the color wheel.
Since they are at contrary positions, the reaction is most intense.
Cima da Conegliano “Three Saints: Roch, Anthony Abbot, and Lucy.” Oil on canvas transferred to wood. The Metropolitan
Museum of Art, New York. [Link]
Notice the altar piece featuring Saint Anthony Abbot and Saint Roch. Along with them is
Saint Lucy, patron of the blind, whose red and green garb beautifully showcases an
example of complementary harmonies.
Analogous harmonies – make use of two colors beside each other in the color wheel.
Edgar Degas, “Before the Race” Oil on panel. Henry Waltrs (Bequeathed, 1931) Walters Art Museum (WAM).
[Link]
Other harmonies have emerged such as triadic harmonies, which make use of three
colors from equidistant sites within the color wheel. This, however, does not mean that
artists will limit themselves to these kinds of harmonies. These are but jump-off points that
artists and other creative use.
6. Texture
Like spaces, texture can be either real or implied. This element in an artwork is
experience through the sense of touch. This element renders the art object tactile.
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Frans Pourbus the Younger, “Margherita Gonzaga, Princess of Mantua.” Oil on canvas. Bequest of Collis P. Huntington,
1990. The Metropolitan Museum of Art, New York. [Link]
Often, texture is commonly associated with textile. In the portrait rendered by court
painter Frans Pourbus the younger, Princess Margherita’s garb is adorned I opulent bead
and stitch work that are befitting her rank. This was achieved using the technique
employed by the artist in creating the work.
a. Textures in the two-dimensional plane – texture can be implied using one
technique or a combination of other elements of art. By creating this visual
quality in the artwork, one can imagine how the surface will feel if it was to be
touched. Some of the words used to describe texture are the following: rough or
smooth, hard or soft, hairy, leathery, sharp or dull, etc. To be able to simulate the
texture of a surface in a flat, two-dimensional plan is one important skill that an
artist must be familiar with, especially if his idea or concept necessitates it.
b. Surface texture – refers to the texture of the three-dimensional art object.
School of Ogata Korin (Japanese, 1658-1716), printed cotton with sarasa pattern, Metropolitan Museum of Art, New York.
[Link]
Planes and Perspective
Some art forms work with actual spaces, such as sculptors, architects, and stage
designers. However, with pictorial art that is two-dimensional, notions of depth and hence
perspective requires the implementation of principles and techniques in creating an
illusion that will fool the eye to three-dimensionality when in reality there is none. Picture
plane is the actual surface of the painting or drawing, where no illusion of a third
dimension exists. Here, the elements lay flat, as if one was looking through a window into
what lies on the other side of the glass.
Its use was based on the following observations:
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a. As forms and objects recede, the smaller they become
b. We were taught that parallel lines never meet. However, when they, too, seem to
converge when they recede into a distance, at a point, they both disappear. This
point of disappearance is called the vanishing point.
example often used to illustrate linear perspective is the railroad where tracks disappear
off at a distance.
G. Herbert & Horace C. Bayley, photographer, Partington- New Railway Viaduct, Interior, negative May 1893 (print
1894), Gelatin silver print.
There are three types of perspective, grounded on the number of vanishing points used by
the artist:
a. One-point perspective – often used in depicting roads, tracks, hallways, or rows
of trees; this type of perspective shows parallel lines that seem to converge at a
specific and lone vanishing point, along the horizon line.
b. Two-point perspective – pertains to a painting or drawing that makes use of two
vanishing points, which can be placed anywhere along the horizon line. It is often
used in depicting structures such as houses or buildings in the landscape that are
viewed from a specific corner.
Gustav Caillebotte, “Rue de Paris, temps de pluie” (Paris Street in Rainy Weather), 1877. Oil on canvas.
c. Three-Point perspectives – in this type of perspective, the viewer is looking at a
scene from above or below. As the name suggests, it makes use of the three vanishing
points, each corresponding to each axis of the scene
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Berenice Abbott, “Chanon Building, New York, “(about 1935). Gelatin silver print. Gift of Nina and
Leo Picher. [Link]
Elements of Art: Auditory
1. Rhythm- often associated to the term beat, meter, and tempo, rhythm is the element
of music that situates it in time. It is the pulse of the music. Beat is the basic unit of
music while tempo refers to its speed. Beats can be organized into a recognizable
recurrent pattern, which is called the meter.
2. Dynamic-the element of music that refers to the loudness or quietness of music is
dynamics.
3. Melody-refers to the linear presentation of pitch. By horizontal, it means that in
musical notation, it is read in succession from left to right. Pitch is the highness or
lowness of musical sound.
4. Harmony- if melody is horizontal, harmony is vertical. It arises when pitch is
combined to form chords. When several notes are simultaneously played, this refers to
a chord
5. Timbre- is often likened to the color of music. It is a quality that distinguishes a voice
or an instrument from another. Dependent on the technique, the timbre may give a
certain tone or characteristic to music, much like how painter evokes different effects
or impressions onto the canvas.
6. Texture- the number of melodies, the type of layers, and their relatedness in a
composition is the texture of music
Principles of Art
These principles are: balance, scale and proportion, emphasis and contrast, unity and
variety, harmony, movement, rhythm, and repetition and pattern.
1. Balance-this principle refers to the distribution of the visual elements in view o
their placement in relation to each other.
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Isamu Noguchi. “Cube.” Entrance of Marine Midland Building, Manhattan.
[Link]
There are three forms of balance:
a. Symmetrical – the elements used on one side are reflected to the other. This
offers the most stable visual sense to any artwork.
UP Diliman Oblation Statue. [Link]
b. Asymmetrical – the elements are not the same on each side, putting the
heaviness on one side.
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[Link]
[Link] [Link]
c. Radial – there is a central point in the composition, around which elements and
objects are distributed.
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[Link]
2. Scale and Proportion- scale pertains to the size in relation to what is normal for
the figure or object in question.
Claes Oldenberg and Coosje van Bruggen, “Plaintor”
Meredith Corporatin Collection, Des Moines.
Sculptures of exaggerate scale are common all over the world as many artists are
taken by the whimsical quality of these objects. One cannot help but smile upon seeing
them in public spaces. In the Philippines, Arturo Luz has created enormous sculptural
versions of the paper clip. For a long time, it occupied a prominent spot at the entrance of
the Ayala Museum.
Proportion, on the other hand, is the size of the components, or of objects in relation
to one another when taken as a composition or a unit. This can also refer to value such as
amounts or number of elements or objects in the composition.
One of the most common cannons asserted relates to the proportion of the body.
This varies from one culture or tradition to another. For the Egyptian artists, the human
form follows a square grid and is informed by the palm of tha hand as a unit of measue. To
complete a standing human figure, 18 units (squares) are neede from head to foot.
Leonardo da Vinci, “Vitruvian Mna” (1490). Pen and ink with wash over metalpoint on paper.
Gallerie dell’ Accademia in Venice, Italy.
3-4. Emphasis and Contrast- emphasis allows the attention of the viewer to
focal point(s), accentuating or drawing attention to these.
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5-6. Unity and Variety- unless intended to be otherwise, compositions are
intended to imbue a sense of accord or completeness from the artwork. this is unity.
Variety, on the other hand, is the principle that aims to retain the interest by allowing
patches or areas that both excite and allow the eye to rest.
“Vasudhara Mandala” (dated to 1777; Samvat 897), Distemper on cloth. Gift of Stephen
and Sharon Davies Collection, 2015. The Metroplolitan Museum of Art, New York.
[Link]
7. Harmony-like what is hinted above, unity and variety is related to the principle
of harmony, in which the elements or objects achieve a sense of flow and
interconnectedness.
8. Movement
This refers to the direction of the viewing eye as it goes through the artwork,
often guided by areas or elements that are emphasized. These focal points can
be lines, edge, shape, and color within the work of art.
9. Rhythm
This is created when an element is repeated, creating implied movement.
Variety of repetition helps invigorate rhythm as depicted in the artwork.
10-11. Repetition and Pattern
Lines, shapes, colors and other elements may appear in an artwork in a
recurring manner. This called repetition. In addition, the image created out of
repetition is called pattern. With repetition, there is a sense of predictability that is
conveyed, which in turn imbues the feelings of security and calmness.
Balance is one of the principles of design; it is classified into three forms:
symmetrical, asymmetrical, and radial: In a short bond paper, draw a simple figure
of symmetrical and asymmetrical design and differentiate how does it differ?
Explain what is the reflection of these figures as an artist?
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Vincent van Gogh, “La Berceuse” (Woman Rocking a Cradle; Oil on canvas. The
Metropolitan Museum of Art, New York. [Link]
It’s you Turn.
Using whole sheet of yellow paper, give one vital use of art. How do you treat this one?
How does it work in your life?
Write a reflective essay about the text. Use the rubric below as a guide in writing your
essay.
Score
Criteria 4 3 2 1
Quality of -Piece was -Piece was - Piece had - Piece had
writing written in an written in an little style no style or
extraordinary interesting or voice voice
style and voice. style and - Give some - Gives no
-Very informative voice new new
and well -Somewhat information information
organized. informative but poorly and very
and organized. poorly
organized. organized.
Grammar, -Virtually no - Few - A number - so many
usage and wrong spelling, spelling and of spelling, spelling,
mechanics punctuation or punctuation, punctuation punctuation
grammatical minor or and
errors. grammatical grammatica grammatica
errors. l errors. l errors that
it interests
with the
spelling.
POST-ASSESSMENT
To test what you learned from this module, answer the following:
1. Is often likened to the color of music. It is a quality that distinguishes a voice or an
instrument from another. ____________________
2. Is perhaps one of the elements that enhances the appeal of an artwork.
_________________
3. It is identified as the strength of color, whether it is vivid or muted.
_________________
4. There is a central point in the composition, around which elements and
objects are distributed. ______________________
5. The image created out of repetition. ___________________
6. Is the disparity between the elements that figure into the composition. One
object may be made stronger compared to other objects. __________________
7. Pertains to the size in relation to what is normal for the figures or object in
question. ________
8. Refers to the texture of the three- dimensional art object.
______________________
9. It is usually inferred from a sense of depth, whether it is real or simulated.
______________
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10. Refers to the three dimensions: height, width, and depth.
______________________
References
Ficher-Rathus, L. (2017). Understanding Art. 11th Ed. Boston: Cengage Learning
Getlein, M. (2005). Gilbert’s Living with Art. 7th Ed. New York: McGraw-Hill.
Gilbert, R. (2005). Living with Art. New York: McGraw-Hill.
Tamplin, R. (1991). The Arts: A History of Expression in the 20th Century.
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