Art Appreciation

Chapter 3

Elements of
Visual Arts
And
Principles of
Design
Chapter 3
Elements of Visual Arts

Introduction

Art is a highly diverse range of human activities engaged in creating visual, auditory, or performed
artifacts— artworks—that express the author’s imaginative or technical skill, and are intended to be
appreciated for their beauty or emotional power.

The oldest documented forms of art are visual arts, which include Line – Just look around you and you’ll
see lines everywhere. Thick and thin. Short and long. Straight and curved. Zig-zagged.Shape – The next
step up from a line is a shape. Circle. Triangle. Square. Trapezoid. Blob. (Sounds like we’re back in
geometry class, except for that last one!) Form – A form is a shape with dimension. Whether it’s an
actual object or a drawing of something that is rendered to look like it’s 3-D.Texture – Smooth, rough,
bumpy, jagged, shiny, dull.Space – Space is a bit tricky, especially when you’re thinking in terms of a
“flat” painting. Essentially, space is the area taken up by an object. However, often artists will use
“negative space” (the space around an object) in their work. Color – As opposed to a “neutral” such as
gray, black, or white.Value – The lightness or darkness of an object.

Art may be characterized in terms of mimesis (its representation of reality), expression, communication of
emotion, or other qualities. Though the definition of what constitutes art is disputed and has changed over
time, general descriptions center on the idea of imaginative or technical skill stemming from human
agency and creation. When it comes to visually identifying a work of art, there is no single set of values
or aesthetic traits

Specific Objectives

At the end of the lesson, the students should be able to:

• Discuss the elements of visual arts and principles of design

• Differentiate the elements of visual arts and its principles
• Familiarized the uses and meaning of each elements
• Appreciate the seven elements of visual arts through participation and intense involvement in
artistic activities

Duration

Chapter 2: Elements of visual arts = 12 hours

(6 hours discussion; 6 hours

assessment)
LESSON PROPER

ELEMENTS OF VISUAL ARTS

Whenever we see an art object, we cannot fail to notice several things: shape or form, texture,
space, and lines which the artist used in expressing his ideas. These are called the elements of visual arts.

It is necessary to understand the basic elements and principles of design that these works
of arts are composed. Take note also that these characteristics may be found in all works of visual
art and architecture and they constitute the building blocks that artists manipulate.
1. Line – The basic building block of a visual design is line. To most of us, a line is thin mark.
However, in two – dimensional art, lines can be expressive in themselves.
Line is probably the most fundamental of all the elements of design. It is the starting
place for most artistic creation whether one is starting a fine drawing or painting or even
sketching ideas for a sculpture most design begins with line.

Five Types of Lines in Art

• Vertical lines are straight up and down lines that are moving
in space without any slant and are perpendicular to horizontal
lines. They suggest height and strength because they extend
towards the sky and seem unshakeable.

• Horizontal lines are straight lines parallel to the horizon that

move from left to right. They suggest width, distance,
calmness, and stability.

• Diagonal lines are straight lines that slant in any direction

except horizontal or vertical. When in use, they suggest
movement or lack of stability.

• Zigzag lines are a series of diagonal lines joined at ends. They can
convey action and excitement, as well as restlessness and anxiety.
• Curved lines are lines that bend and change direction gradually.
They can be simply wavy or spiral. Such lines convey the feelings
of comfort and ease, as well as sensual quality as they remind us
of the human body.

Variations of Lines
Lines come in many varieties. They may:
• be long, short or anything in between
• be thick, thin
• continuously change width
• be smooth or rough
• be continuous, implied, dotted, dashed
• be any of the above combined

Some Ways Artists Use Line

• to outline; a starting place for many drawings or paintings
• to suggest moods or emotion; lines can appear calm, nervous, angry, etc.
• to lead the viewer’s eye through a work of art
• to create lightness or darkness; lines placed close together appear darker than those
placed further from each other
• to create texture; roughness or smoothness

Common Types of Line Drawings

• Contour line drawing: Drawings that use a fairly continuous line to represent the edges
and surface detail of shape or objects being drawn.
 • Gestural line drawing: These drawings use quick pencil strokes (or other drawing
instruments) to capture a scene. Gestural drawings imply action and movement.

• Hatched and Cross-hatched line drawing: drawings that consist or parallel lines
(hatching) or crossing parallel lines (cross-hatching) drawn to create changes in lightness
and darkness and texture.

Hatching Cross-Hatching

Hatching is created when non-crossing lines are used to indicate the value on or around
an object. When hatching is used, the lines drawn generally go in the same direction and are
mostly parallel with each other. When cross-hatching is used, the artist may begin adding
value as hatching, but then allow the lines to cross over each other. The more that the lines
cross over each other, the darker the value becomes.

2. Shape – Shape is a two dimensional area confined by an actual line or implied line (an
edge for example). In drawing shapes are created when the ends of lines are joined to
enclose areas.

Types of Shapes

Geometric Shapes
• Can be described using mathematical terms
• They are very regular or precise
 • They are more often found in man-made things because they are easier to reproduce and
make things with
• Examples of geometric shapes are squares, rectangles, triangles, circles, oval, pentagons
and so on.

Organic Shapes
• are difficult to describe using definitons
• are irregular or uneven
• are more often found in nature
• Example could include the shape of clouds, puddles, trees, leaves, rocks and so on.
3. Form – Form relates closely to line in both definition and effect. Form is very similar to
the element of design shape. The difference is that the term form is used in artwork that
has three dimensions instead of two as shapes. The three dimensions are length, width and
depth.

Types of Form
Geometric Forms
Geometric forms are mathematical, precise, and can be named, as in the
basic geometric forms. Since they are three-dimensional (3D) instead of two
dimensional, they are objects such as cubes, cylinders, cones and spheres. They are
often the type of form that human-made objects are constructed with.

Free-form or Organic Forms

Organic forms are irregular and are the type of forms that most things in
nature are. Cloud formations, mountains, trees and bushes are all relatively free-
form. animals and even humans tend to be more free- form too, as they are ever
changing forms.

Three Dimensional (3D) Media

 Sculpture is the term most often used for art that is made using three-
dimensional media. Media (plural) or medium (singular) is the material that is used
to make art. Here are some common media used for 3D design:
• clay • string
• wood • cardboard
• stone • fibers
• cast • cloth
metal • plaster
• sheet • papier mache
metal
• wire
4. Color – Color constitutes an additional and very important aspect of the composition of an
artwork. Of all the Elements of Design, color is probably the most challenging to
understand. We have to learn a little science to fully understand the nature of color. Color
has three main properties: hue, value and intensity.
Color originates from a light source, that is either view directly or
as reflected light. Daylight or white light contains light waves for all
colors. There is no color without light. The absence of light is complete
darkness or black. The colors that are always in the same order are
called the Color Spectrum. When organized in order around a circle;
the color spectrum is called Color Wheel.

The primary colors are red, yellow and blue in the art world. They are considered
primary colors because they cannot be made from mixing other colors but they may be
mixed to make most other colors. Black and white can also be added to create additional
colors.

Secondary colors are green, orange and

violet (or Purple). They are the colors that result in
mixing two of the primary colors together in equal
amounts.

Tertiary or Intermediate Colors

 Intermediate colors are made by mixing a primary color with one of its two adjacent
secondary colors.
An adjacent color is one that is next
to a color in the color spectrum. Another way
to remember this is to mix a primary with
only one of the secondary colors that it has
in it.
For example, yellow is used to make
secondary colors green and orange, so only
green and orange can be mixed with yellow
to get an intermediate color. Each primary
color had two secondary colors choices that
may mix to produce an intermediate color.

Properties of Color

1. Hue: Hue is the name of a pure color, such as red, blue, or yellow.
2. Value: Value is the lightness or darkness of a hue (color). The value of a hue can be
changed by adding black or white. Light values of colors are called tints. Darker values of
colors are called shades.
3. Intensity: Intensity is the brightness or dullness of a hue (color). Pure hues are high-
intensity colors. Dull hues are low-intensity colors. Intensity of color is changed by adding
varying amounts of its complimentary color.
For example, to make a bright green duller a little bit of red could be added to it.

Warm colors: Colors that remind us of things that are warm; they are red, yellow
and orange.
Cool colors: Cool colors remind us of things we associate with cold or coolness;
they are blue, violet and green.
5. Space – Space refers to the area within, around, above or below an object or objects. It is
important to creating and understanding both two-dimensional or three-dimensional works
of art.
With three-dimensional art, the space things occupy is real as is the space around
object. In two-dimensional art, this is definitely not the case. Two-dimensional art exists
on a flat surface, so if something looks three-dimensional - it is an illusion. Even the most
realistic paintings or photographs are illusions.
Two-dimensional artists use a number of "tricks" for creating the illusion of depth
in their art.

There are five ways to create the illusion of space on a 2-Dimensional surface:

Overlapping - occurs when objects that are closer

to the viewer prevent the view of objects that are behind
them.

Placement on the paper - Objects placed higher

within the picture plane will appear further away.

Size – Smaller objects will appear further away

from the viewer.

Detail - Objects that are further away should have

less detail than objects that are closer to the viewer.
 Color and Value - Objects that are
further away are cooler in color temperature,
while closer objects are warmer. Objects that
are further away are lighter in value, while
closer objects are typically darker in value.

6. Texture – The texture of a picture is its apparent roughness or smoothness.

Texture refers to the surface quality in a work of art. We associate textures

with the way that things look or feel. Everything has some type of texture. We
describe things as being rough, smooth, silky, shiny, fuzzy and so on.
Some things feel just as they appear; this is called real or tactile texture.
Some things look like they are rough but are actually smooth. Texture that is created
to look like something it is not, is called visual or implied texture.

Texture may be used in a work of art to:

• create visual interest or a focal point in a composition
• create contrast within a design composition
• help visually balance a design composition

Real/Tactile Texture

• Tactile texture is the way a surface actually feels, such as sandpaper or tree bark.
• Implied texture is the way the surface of an object “looks” like it feels.
This is created with different pencil and brush or other drawing media techniques.
Principles of Design

Introduction

The principles of design are the rules a designer must follow to create an effective and attractive
composition. The fundamental principles of design are Emphasis, Balance and Alignment,
Contrast, Repetition, Proportion, Movement and White Space.

Design differs from art in that it has to have a purpose. Visually, this functionality is interpreted
by making sure an image has a center of attention, a point of focus. Maybe you’re thinking, ‘But
wait! I thought design was all about creativity?’ If you’re an entrepreneur or designer who’s just
starting out, you might be tempted to go wild and combine the first five typefaces and colors that
catch your eye, believing you’re creating something fresh and new. You will probably find
yourself with a design that is muddled, unfinished, or well, just plain ugly.

Graphic design, like any discipline, adheres to strict rules that work beneath the surface to make
the work stable and balanced. If the work is missing that balance, it will be weak and ineffective.

This article will take you through 7 basic principles of design that will make your next project
stand out.

1. Emphasis
Poster design by miai313 for Handel’s Messiah Rocks

Say you’re creating a poster for a concert. You should ask yourself: what is the first piece of
information my audience needs to know? Is it the band? Or the concert venue? What about the
day and the cost of attending?

Make a mental outline. Let your brain organize the information and then lay out your design in a
way that communicates that order. If the band’s name is the most essential information, place it
in the center or make it the biggest element on the poster. Or you could put it in the strongest,
boldest type. Learn about color theory and use strong color combinations to make the band name
pop.

Like writing without an outline or building without a blueprint, if you start your composition
without a clear idea of what you’re trying to communicate, your design will not succeed.

2. Balance and alignment

Poster design by Shwin for Rumspringa

Never forget that every element you place on a page has a weight. The weight can come from color, size,
or texture. Just like you wouldn’t put all your furniture in one corner of a room, you can’t crowd all your
heavy elements in one area of your composition. Without balance, your audience will feel as if their eye is
sliding off the page.
Symmetrical design creates balance through equally weighted elements aligned on either side of a center
line. On the other hand, asymmetrical design uses opposite weights (like contrasting one large element
with several smaller elements) to create a composition that is not even, but still has equilibrium.

Symmetrical designs are always pleasing, if not occasionally boring. Asymmetrical designs are bolder
and can bring real visual interest and movement (more on that later!) to your composition.

3. Contrast

Poster design by Daria V. for Mama J

Contrast is what people mean when they say a design “pops.” It comes away from the page and sticks in
your memory. Contrast creates space and difference between elements in your design. Your background
needs to be significantly different from the color of your elements so they work harmoniously together
and are readable.

If you plan to work with type, understanding contrast is incredibly essential because it means the weight
and size of your type are balanced. How will your audience know what is most important if everything is
in bold?

As you seek out examples of really strong, effective design, you’ll notice most designs only feature one or
two typefaces. That’s because contrast can be effectively achieved with two strong fonts (or even one
strong typeface in different weights). As you add fonts, you dilute and confuse the purpose of your
design.
4. Repetition

Poster design by robbyprada for Zoom.de

If you limit yourself to two strong typefaces or three strong colors, you’ll soon find you’ll have to
repeat some things. That’s ok! It’s often said that repetition unifies and strengthens a design. If
only one thing on your band poster is in blue italic sans-serif, it can read like an error. If three
things are in blue italic sans-serif, you’ve created a motif and are back in control of your design.

Repetition can be important beyond one printed product. Current packaging design is heavily
embracing beautiful illustrated patterns. Anyone thinking about a startup knows one of the first
things you need is a strong logo to feature on your website, business cards, social media and more.
Brand identity? Another term for repetition.
5. Proportion

Poster design by Mahuna

Proportion is the visual size and weight of elements in a composition and how they relate to each
other. It often helps to approach your design in sections, instead of as a whole.

Grouping related items can give them importance at a smaller size—think of a box at the bottom
of your poster for ticket information or a sidebar on a website for a search bar. Proportion can be
achieved only if all elements of your design are well-sized and thoughtfully placed. Once you
master alignment, balance, and contrast, proportion should emerge organically.
6. Movement

Poster design by Stefanosp for Great American Music Hall

Going back to our concert poster. If you decided the band was the most important piece of
information on the page and the venue was the second, how would you communicate that with
your audience?

Movement is controlling the elements in a composition so that the eye is led to move from one to
the next and the information is properly communicated to your audience. Movement creates the
story or the narrative of your work: a band is playing, it’s at this location, it’s at this time, here’s
how you get tickets. The elements above—especially balance, alignment, and contrast—will work
towards that goal, but without proper movement, your design will be DOA.

If you look at your design and feel your eye get “stuck” anywhere on it—an element is too big,
too bold, slightly off-center, not a complimentary color—go back and adjust until everything is in
harmony.
7. White space
—

Poster design for pmoretti

All of the other elements deal with what you add to your design. White space (or negative space)
is the only one that specifically deals with what you don’t add. White space is exactly that—the
empty page around the elements in your composition. For beginning designers, it can be a perilous
zone. Often simply giving a composition more room to breathe can upgrade it from mediocre to
successful.
White space isn’t sitting there doing nothing—it’s creating hierarchy and organization. Our brains
naturally associate ample white space around an element with importance and luxury. It’s telling
our eyes that objects in one region are grouped separately from objects elsewhere.

Even more exciting, it can communicate an entirely different image or idea from your main design
that will reward your audience for engaging with it. The logo above uses active negative space to
communicate multiple ideas in one fun, creative design.

HOW TO USE THE PRINCIPLES OF DESIGN

A design doesn’t have to strictly follow these rules to be “good.” Some absolutely mind-blowing
designs ignore one or more of the principles of design in order to create an eye-catching and
effective work.

The Bed Moved by Rebecca Schiff. Designed by Janet Hansen for Knopf

Consider the cover of “The Bed Moved” by Rebecca Schiff, designed by Janet Hansen. This was
one of the most lauded book covers of 2016.

But did you immediately read the first line as “Theeb?” Did your eye jump to the bottom line
where the M from “Moved” is isolated on a different line than the rest of the word? The design is
clearly breaking the two rules of movement and alignment. But! Because of the designer’s
confident use of a bold contrasting color scheme and a repetitive structure, your eye is easily
guided to the title and author of the book.

The important information is communicated. That jarring moment of slight confusion is what
makes this design so revolutionary and rewarding.

The elements of a design should be viewed as moving parts which combine to tell a story. As you
approach your design project you must first familiarize yourself with these principles of design.
Only then will you be able to break the rules to create your own signature style.
References/Additional Resources/Readings

https://99designs.com/blog/tips/principles-of-design/

Ariola, Mariano M. (2018) Art Appreciation. Intramuros, Manila: Unlimited Books Library
Services & Publishing Inc.

Capili, M. F. et.al. (2010) HUMANITIES: Art Apprecaition. Plaridel Bulacan: TCS-Publishing

House.